O objetivo deste trabalho é analisar o uso das metáforas como figuras retóricas e analisar o uso das metáforas conceituais nos editoriais selecionados dos jornais: O Estado de S.Paulo, Folha de S.Paulo, Gazeta do povo, O Globo e Gaúcha Zero Hora. Essa análise parte da fundamentação teórica tem como base as metáforas como figuras retóricas de acordo com os preceitos elaborados por Perelman & Tyteca (2005 [1958]) em seu Tratado da argumentação - A nova retórica e as metáforas conceituais de acordo com os preceitos elaborados por Lakoff & Johnson (2002 [1980]) em Metáforas da vida cotidiana. Procura-se, nesse sentido, observar como o orador/editorialista faz a aplicação metafórica em seus textos, a fim de entender sua finalidade argumentativa para com o auditório/leitor. A análise do texto compreende a identificação das diferentes metáforas como figuras retóricas e como metáforas conceituais ambas estão examinadas em nossa pesquisa teórica. Demonstrar a operacionalização das teorias de Perelman & Tyteca e Lakoff & Johnson nos permite apontar como é possível criar condições técnicas-científicas para unir essas duas teorias em uma pesquisa das diferentes metáforas nas diversas construções linguísticas dos editoriais de jornais on-line. / The aim of the study is to analyze the use of metaphors as figures of language and to analyze the use of conceptual metaphors in selected newspaper editorials: O Estado de S.Paulo, Folha de S.Paulo, Gazeta do Povo, O Globo and Gaúcha Zero Hora. This analyzis is based in metaphors as rhetorical figures in accordance to Perelman & Tyteca (1958) in their The new Rhetoric A treatise on Argumentation, and the conceptual metaphors in accordance to Lakoff & Johnson (1980) in Metaphors We Live By. In this regard, we want to observe how the orator/editorialist makes the metaphorical application in their texts, in order to understand their argumentative purpose towards the audience/reader. The revision of the text includes the identification of the different metaphors as rhetorical figures and as conceptual metaphors based on our theoretical research. Therefore, we intend to demonstrate how it is possible to create technical-scientific conditions to unite these two theories (Perelman & Tyteca and Lakoff & Johnson in a research of the different metaphors in the diverse constructions linguistic of the editorials of online newspapers.

O objetivo deste trabalho é analisar o uso das metáforas como figuras retóricas e analisar o uso das metáforas conceituais nos editoriais selecionados dos jornais: O Estado de S.Paulo, Folha de S.Paulo, Gazeta do povo, O Globo e Gaúcha Zero Hora. Essa análise parte da fundamentação teórica tem como base as metáforas como figuras retóricas de acordo com os preceitos elaborados por Perelman & Tyteca (2005 [1958]) em seu Tratado da argumentação - A nova retórica e as metáforas conceituais de acordo com os preceitos elaborados por Lakoff & Johnson (2002 [1980]) em Metáforas da vida cotidiana. Procura-se, nesse sentido, observar como o orador/editorialista faz a aplicação metafórica em seus textos, a fim de entender sua finalidade argumentativa para com o auditório/leitor. A análise do texto compreende a identificação das diferentes metáforas como figuras retóricas e como metáforas conceituais ambas estão examinadas em nossa pesquisa teórica. Demonstrar a operacionalização das teorias de Perelman & Tyteca e Lakoff & Johnson nos permite apontar como é possível criar condições técnicas-científicas para unir essas duas teorias em uma pesquisa das diferentes metáforas nas diversas construções linguísticas dos editoriais de jornais on-line. / The aim of the study is to analyze the use of metaphors as figures of language and to analyze the use of conceptual metaphors in selected newspaper editorials: O Estado de S.Paulo, Folha de S.Paulo, Gazeta do Povo, O Globo and Gaúcha Zero Hora. This analyzis is based in metaphors as rhetorical figures in accordance to Perelman & Tyteca (1958) in their The new Rhetoric A treatise on Argumentation, and the conceptual metaphors in accordance to Lakoff & Johnson (1980) in Metaphors We Live By. In this regard, we want to observe how the orator/editorialist makes the metaphorical application in their texts, in order to understand their argumentative purpose towards the audience/reader. The revision of the text includes the identification of the different metaphors as rhetorical figures and as conceptual metaphors based on our theoretical research. Therefore, we intend to demonstrate how it is possible to create technical-scientific conditions to unite these two theories (Perelman & Tyteca and Lakoff & Johnson in a research of the different metaphors in the diverse constructions linguistic of the editorials of online newspapers.

Esta investigación sirve para identificar los recursos persuasivos del diseño gráfico utilizados para promover el consumo de productos alimenticios saludable. Igualmente, contribuye a conocer que herramientas del diseño persuasivo son adecuadas para comunicar y promover el consumo de dichos productos. Por un lado, beneficia aquellas personas o marcas interesadas en crear productos saludables, pues podrán usar los recursos persuasivos del diseño presentes en la investigación y contribuir a la alimentación mediante productos beneficiosos para la sociedad. Por otro lado, los productos no saludables son masivos en los medios de comunicación, conectan emocionalmente con la audiencia y aparentemente el valor nutricional de su contenido es ignorado. Es por ello que el presente trabajo investigó cómo el diseño persuasivo se empleó en los productos alimenticios saludables para comprender porque no cumplen con las características de pregnancia presentes en los productos alimenticios no saludables. Asimismo, esta investigación es de alcance explorativo y descriptivo. Es explorativo porque recopiló información para iniciar el plan de investigación y análisis sobre recursos persuasivos y gráficos utilizados en los empaques de productos alimenticios saludables. Además, es descriptivo ya que observó las cualidades que componen al empaque y como el diseño ayudo a enfatizar algunas bondades del producto. En concreto, se escogió 2 productos dentro del rubro de galletas saludables para compararlas, Fitness de Nestle y Nutrishake Andino. De la comparativa se obtuvo que efectivamente existen recursos persuasivos del diseño, conocidas como figuras retóricas que, en conjunto al discurso persuasivo, influyen en la percepción de la imagen del producto. / This research serves to identify persuasive resources of graphic design used to promote the consumption of healthy food products. Likewise, it helps to know what kind of persuasive design tools are suitable for communicating and promoting these products. On the one hand, it benefits people or brands interested in creating healthy products. Also, they will be able to use persuasive design resources present in the research to contribute through healthy products to society. On the other hand, unhealthy products are massive in the media, it emotionally connects with the audience and apparently the nutritional value of their content is ignored. For that reason, the present work it was proposed to investigate how the design has been used in healthy food products to understand why it does not have the same pregnance characteristics that unhealthy products have. Besides, this exploratory investigation gathered information necessary to initiate the research and analysis plan on the graphic resources used in healthy products to determine the key factors in the purchase decision of these products. Similarly, it presents a descriptive investigation because it observes the qualities that make up the healthy product and how design helps to emphasize some benefits of that product. Specifically, 2 products were chosen within the category of healthy cookies to compare them, Nestle Fitness and Andean Nutrishake. From the comparison it was obtained that there are indeed persuasive resources of the design, known as rhetorical figures and persuasive discourse used to influence the perception of the image of the product. / Trabajo de investigación

Made available in DSpace on 2016-04-28T19:34:05Z (GMT). No. of bitstreams: 1 Noslen Nascimento Pinheiro.pdf: 20183650 bytes, checksum: f7e36c76ed33d5f1269c812849ce1f19 (MD5) Previous issue date: 2016-03-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In the face of several possibilities of studying that the advertising discourse provides, we propose, in this study, a rhetorical analysis of the titles in advertisements published in magazines, in Brazil, from 1808 to 2015. In some cases, the analyses will be extended to the additional texts in order to shed light on certain argumentative intentions of the orator. Our proposal is mainly based in Rhetoric theoretical fundaments, presented in Chapter 1, and sustained in Aristotle s Rhetoric (1985), which is presented and extended by Chaïm Perelman & Lucie Olbrechts-Tyteca (2005) as the New Rethoric and Olivier Reboul (2004), among other important argumentation theorists. The Chapter 2 describes the text advertisements structure, since the conception of the advertisement until the lexical choice for the text. In order to put forward the text configuration, we based our research mainly in João Anzanello Carrascoza (1999/2004) and Jorge S. Martins (1997) studies, among others. In Chapter 3, the advertisements are displayed, transcribed and analyzed based on the on the precepts of the New Rhetoric. When analysing the corpus, we outline ideological, cultural and social issues presente in the sentence macrostructure. We also consider the rhetorical context and e the rhetorical places, from which the linguistic materials revels ways the orator achieves the acceptance or adherence. We also identified the figures of rhetorical speech applied for argumentative purposes / Diante das inúmeras possibilidades de estudo que o discurso publicitário proporciona, propomos, neste trabalho, uma análise retórica dos títulos de anúncios veiculados em revistas impressas de 1808 a 2015, no Brasil. Em alguns casos, a análise se estende aos textos adicionais para elucidar as intenções argumentativas do orador. Nossa proposta baseia-se essencialmente em uma fundamentação teórica sobre a retórica, exposta no capítulo 1, as quais são baseadas nas teorias de Aristóteles (1985), apresentadas a partir das concepções da Nova Retórica de estudiosos como Chaïm Perelman & Lucie Olbrechts-Tyteca (2005) e Olivier Reboul (2004), dentre outros. O capítulo 2 trata da estrutura do texto publicitário, desde a concepção do anúncio até a escolha lexical. Para elucidar a configuração do texto, baseamo-nos principalmente nas proposições de João Anzanello Carrascoza (1999/2004) e Jorge S. Martins (1997), dentre outros. No capítulo 3, os anúncios são exibidos, transcritos e analisados a partir dos preceitos da retórica moderna. Na análise, são delineados traços ideológicos, culturais e/ou sociais presentes na macroestrutura textual dos títulos. São considerados também o contexto e os lugares retóricos, a partir dos quais o material linguístico revela as intenções do orador. Por fim, são identificadas as figuras de retórica aplicadas para fins argumentativos

Orientador: Helena Jank / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-15T18:17:05Z (GMT). No. of bitstreams: 1 Ambiel_AureaHelenadeJesus_D.pdf: 16067202 bytes, checksum: 62a0b51ee340c1cc3d3ef9f5ccbfd44b (MD5) Previous issue date: 2010 / Resumo: Em Musica Poética (1606) , Joachim Burmeister oferece a primeira proposta de análise formal em música . A sua metodologia analítica tem um direcionamento retórico- musical e compreende a divisão em cinco categorias: "(1) investigação do modo; (2) investigação do gênero melódico; (3) investigação do tipo de polifonia; (4) consideração da qualidade; (5) secionamento da peça em afetos ou períodos" (BURMEISTER, ([1606] 1993, p.201). O presente trabalho propõe a análise da obra Lamentationes Jeremiae Prophetae de Orlando Di Lasso, segundo a sua quinta categoria. A sua aplicação nesta obra de Lasso pode revelar o valor da análise. A intenção inicial do autor, antes de mais nada, era pedagógica: ele tencionava ensinar os jovens músicos a compor, utilizando como meio: o estudo, a observação e a imitação dos recursos engenhosos empregados na obra pelos grandes mestres (emulação). A aplicação desta quinta categoria coloca o analista numa posição que diz respeito também ao intérprete: é preciso encontrar nas diversas partes do discurso musical os afetos sugeridos pelo compositor. Através da análise é possível recriar a atmosfera afetiva da obra, oferecendo uma importante ferramenta para a interpretação, com profundidade e acuidade estilística / Abstract: In Musica Poetica (1606) Joachim Burmeister offers the first proposal of a formal analysis in music. His analytical methodology has a rhetoric-musical orientation and includes a five-category division: "(1) investigation of the mode; (2) investigation of the melodic genus; (3) investigation of the type of polyphony; (4) consideration of the quality; (5) sectioning of the piece into affections or periods" (BURMEISTER, [1606] 1993, p. 201). This dissertation aims to analyse Lamentationes Jeremiae Prophetae by Orlando Di Lasso in accordance with Burmeister's fifth category. The application of his fifth category on Lasso's work can reveal the value of this analytical method. Initially the authors's intention was pedagogic. He wanted to teach young musicians how to write music using the study, observation and imitation of inventive resources employed by great masters (emulation). Nowadays the application of this fifth category puts the music analyst on a par with the music performer. It is necessary to find out first the affect suggested by the composer among the several parts of the musical discourse. Through the utilization of this fifth category it is possible to recreate the affective atmosphere of the work. At the same time it can provide the performer an important tool to help in the interpretation of the work with depth and a keener sense of historical stylistic acuity / Doutorado / Doutor em Música

L’esprit, comme forme de la conversation, est au XIXe siècle une notion fondamentalement ambiguë. Hérité du XVIIe siècle et de l’âge d’or de la conversation, profondément marqué par les bouleversements de l’âge post-révolutionnaire, bousculé par le développement de la mystification, du persiflage, de la blague, et de la raillerie journalistique, le trait d’esprit prend tendanciellement un tour agonistique et instrumental dans les luttes sociales de l’époque. Balzac, journaliste, blagueur, mais aussi conservateur et amoureux des « conversation[s] entre onze heures et minuit » paraît emblématique de cette ambiguïté. Le trait d’esprit, parole brillante et concise, qui se veut singulière, peut être appréhendé comme un énoncé détachable. Notre approche stylistique sera donc en premier lieu celle d’une analyse des figures, au niveau de l’unité-énoncé et des catégories syntactico-sémantico-lexicales de la phrase. Cependant, suite aux acquis de la grammaire du texte, il apparaît que la signification même de ces catégories ne peut être comprise que par rapport à des structures extra-énoncives : nous tenterons ainsi de replacer systématiquement ces énoncés dans leur contexte discursif. Considérant que le trait d’esprit, en tant que performance sociale, doit être défini en partie par les conditions mêmes de son énonciation, nous tenterons de comprendre le fonctionnement de cet acte socio-discursif grâce aux acquis de l’analyse du discours. Notre travail privilégiera donc une approche conversationnelle (ou interactionnelle, selon les terminologies) et pragmatique, en s’attachant à étudier non seulement ce que dit le trait d’esprit, mais aussi ce qu’il communique, qu’il s’agisse des traits d’esprit des personnages ou de ceux du narrateur. L’interaction dialectique de ces deux niveaux nous permettra d’interroger la valeur romanesque du trait d’esprit, parole ambiguë, entre référence sérieuse et jeu métalinguistique, caractéristique du réalisme paradoxal de La Comédie humaine. / The notion of “esprit” (French wit), a feature of the art of conversation, was, all through the 19th century, an ambiguous one. The art of witticism – a legacy of the 17th century and of the golden age of conversation – was, however, deeply altered by the advent of other forms of wit such as mystification, persiflage, jokes and journalistic banter : “traits d’esprit” (witticisms) gradually took on an agonistic dimension and became instruments in the social struggles of the time. Balzac, a journalist, a joker but also a conservative writer and a lover of “conversations between eleven o'clock and midnight” is emblematic of this ambiguity. “Traits d’esprit” (Witticisms) – short and clever statements aimed at being remarkable – can be studied as stand-alone utterances. That is why I shall first proceed to an analysis of the stylistic devices at work at the level of utterance, and relying on syntactic, semantic and lexical categories. However, drawing from the findings of text grammar, it appears that the meaning of these categories can only be understood in relation to an extra-utterance context and structures. Therefore, I shall systemically attempt to contextualize these utterances within a larger discursive framework. “Traits d’esprit” being social performances, they have to be defined in regard to the situation of utterance. I shall therefore use the tools of discourse analysis in order to break down the mechanisms of such a socio-discursive act. The present work thus relies on a conversational (or interactional) and pragmatic approach. It attempts to tackle not only what is said but also what is conveyed in those “traits d’esprit”, whether they belong to the characters’ or the narrator’s discourse. It is through the dialectic interaction between these two levels of wit that I intend to assess the role of witticisms. Ambiguous utterances, “traits d’esprit” pertain to serious references as well as to metalinguistic games, and are thus characteristics of the paradoxical realism to be found in La Comédie humaine.

This study is concerned with the artistic use of classical rhetorical figures in Shakespeare's I Henry IV.After the Introduction, Chapter II examines the history of rhetoric, focusing on the use of the rhetorical figures in Ancient Greece, Ancient Rome, and Medieval Europe. Chapter III investigates rhetorical principles and uses of the rhetorical figures during the English Renaissance and examines the probable influence of rhetoric and the figures on William Shakespeare. Chapter IV discusses themes, characterization, structure, and language in I Henry IV and presents the contribution of the rhetorical figures to the drama's action and characterization. Chapter V considers the contribution of the figures to the major themes of I Henry IV and concludes that the figures, when used with other artistic elements, enhance meaning.

Zwischen 1689 und 1700 lässt Johann Kuhnau (1660–1722) 14 Suiten und 14 Sonaten in vier Sammlungen für das ›Clavier‹ drucken. Den letzten sechs Sonaten, die sich programmatisch mit biblischen Themen befassen, setzt Kuhnau ein Vorwort voran, das sich ausführlich mit Fragen des musikalischen Affekts in der Instrumentalmusik auseinandersetzt. Obwohl Kuhnau jeder Sonate eine zweiseitige Inhaltsbeschreibung vorausstellt und auch im Notetext spezifische Bedeutungsmomente durch Anmerkungen identifiziert, will er nicht, dass das Publikum nach exakten Übereinstimmungen zwischen Programm und Musik sucht, sondern er betrachtet den Text hauptsächlich als Hilfestellung zum Verständnis von »verdächtig vorkommenden Sätzen«, wobei »die Worte [das Publikum] auf die Spur seiner Raison« bringen soll. Kuhnau unterscheidet zwischen Musik, die einen bestimmten Affekt ausdrückt, und Musik, die die Zuhörer zu einem bestimmten Affekt bewegen soll. Bei der ersten handelt es sich z.B. um einen musikalischen Ausdruck durch Wortmalerei oder klangliche Imitation, bei der letzten geht es jedoch um musikalische Umsetzungen, die sich in der Struktur eines Werkes quasi als musikalische Analogie oder Konzeption niederschlagen. Zudem spricht Kuhnau über die Rolle des musikalischen Affekts in Bezug auf die Wahrnehmung und musikalische Komposition in seinem Roman Der musicalische Quacksalber. Ausgehend von Kuhnaus Schriften demonstriere ich, wie der musikalisch dramatische Verlauf der Sonaten beide Aspekte des Affekts beinhaltet und wie rhetorische Figuren nicht isoliert stehen, sondern in die musikalischen Strukturen eingebettet sind. / Between 1689 and 1700, Johann Kuhnau (1660–1722) published four collections of keyboard music containing 14 suites and 14 sonatas. In the preface to the last collection, Musicalische Vorstellung einiger Biblischer Historien, which consists of six sonatas that programmatically deal with biblical themes, Kuhnau extensively addresses the role of musical affect in the context of instrumental music. Although Kuhnau precedes each individual sonata with a lengthy description of its biblical content and identifies specific programmatic moments through annotations in the music, he worries in the preface that his audience might misunderstand his intentions. Kuhnau distinguishes between music that expresses a specific affect and music that moves the audience to experience a specific affect. The former is linked to musical expression by means of word painting and imitation of real-life sound (for example, bird songs), while the latter is concerned with musical realizations of an affect, quasi as a musical analogy that is embedded into the structure of a work. Moreover, Kuhnau further discusses the role of musical affect in relation to sense perception and musical composition in his novel Der musicalische Quacksalber (The Musical Charlatan). Based on Kuhnau’s writings, I demonstrate how the musical dramatic unfolding of the sonatas contains both aspects of the affect, and how they are embedded into musical structures.

No description available.

Made available in DSpace on 2016-04-28T19:34:31Z (GMT). No. of bitstreams: 1 Davi Silva Peixoto.pdf: 470464 bytes, checksum: 87c1e75ed006c6b702fee17caa542baf (MD5) Previous issue date: 2008-11-13 / This dissertation is located in the field of the Linguistic Historiography and it has for theme the construction of the argument in the Sermon of First Dominga of priest Antonio Vieira's Advent. In order to carry through this task, the following objectives were drawn: examine in the selected sermon the language, the history and the role of rhetorical figures that act in the organization of Priest Antonio Vieira's sermon as a persuasion mechanism. We found in the XVII century, more particularly in Vieira, a man imbued with the Baroque spirit and very concerned with Social-Christian causes, characterizing the fight between the material and the spiritual world, the possibility to verify the relationship between language and history that allows us to know the sermon amid its production context, at the same time in which allows us to update it at the light of current theories. In Vieira's peculiar Rhetoric, fruit of his Jesuit education, there is innovation, daring, clarity and objectivity. Such peculiarity does not just result from the favoring of linguistic mechanisms available in the language, but also by the speaker's cultural luggage, verified in practicing the persuasion. There are many studies on Vieira's work. However, this research is justified for looking for a historical approach, in addition to accomplishing the study of the arrangement and the elocution of the chosen Sermon in a historical-graphical approach. This was based theoretically on the foundations of the Linguistic Historiography that allows for rereading of the facts regarding the language and its history, through the principles of contextualization, immanence and theoretical adaptation. The analysis of the sermon demonstrated that the historical-linguistic marks and the persuasion mechanisms found in it reveal the typical thinking of the baroque man and that the success of Vieira's preaching is achieved by its peculiar style, involving rhetorical figures and the interaction between speaker and listener / Esta dissertação situa-se no campo da Historiografia Lingüística e tem por tema a construção da argumentação no Sermão da Primeira Dominga do Advento do padre Antonio Vieira. Para executar essa tarefa traçaram-se os seguintes objetivos: examinar no sermão selecionado a língua, a história e o papel de figuras retóricas, que funcionam na organização do sermão de Padre Antonio Vieira como mecanismo de persuasão. Encontramos no século XVII, mais particularmente em Vieira, um homem imbuído do espírito Barroco e muito preocupado com causas sócio-cristãs, caracterizadoras da luta entre o mundo material e o espiritual a possibilidade de verificar a relação entre língua e história que permite-nos conhecer o sermão em meio ao seu contexto de produção, ao mesmo tempo em que oportuniza atualizá-lo à luz de teorias atuais. Na Retórica peculiar de Vieira, fruto de sua formação jesuítica, há inovação, ousadia, clareza e objetividade. Tal peculiaridade não se dá apenas pelo favorecimento de mecanismos lingüísticos disponíveis na língua, mas também pela bagagem cultural do orador, verificada na prática da persuasão. Estudos sobre a obra de Vieira há muitos. Porém essa pesquisa se justifica por buscar uma abordagem histórica, além de realizar o estudo da disposição e da elocução do Sermão escolhido em uma abordagem historiográfica. Embasou-se teoricamente nos fundamentos da Historiografia Lingüística que permite uma releitura dos fatos da língua e de sua história, por meio dos princípios da contextualização, da imanência e da adequação teórica. A análise do sermão demonstrou que as marcas histórico-lingüísticas e os mecanismos de persuasão presentes nele revelam o pensamento típico do homem barroco e que o sucesso da pregação de Vieira se dá pelo seu estilo peculiar envolvendo figuras retóricas e a interação entre orador e ouvinte