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No. of bitstreams: 1 gementi-spolzino_mm_dr_arafcl.pdf: 5416214 bytes, checksum: 273f75657bf3062be915f3a4ce4fd7a3 (MD5) Previous issue date: 2018-04-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O objetivo da presente tese é estudar as fricativas (sibilantes e chiantes) nas cantigas trovadorescas, a partir das relações existentes entre letras e sons e as possíveis grafias nas cantigas religiosas e profanas. O corpus é composto por 50 Cantigas de Santa Maria (CSM), das 420 cantigas marianas em louvor à Virgem Maria, compiladas em galego-português por Afonso X, e por 150 cantigas profanas, sendo 50 cantigas de amigo, 50 cantigas de amor e 50 cantigas de escárnio e maldizer. A metodologia utilizada baseia-se na análise das rimas e das variações gráficas presentes nas cantigas trovadorescas, o que nos possibilitou um estudo inédito sobre a realização fônica das fricativas (sibilantes e chiantes) de uma época da língua em que não há mais falantes vivos. Além disso, fez parte dos procedimentos metodológicos de nossa pesquisa a consulta a glossários, rimários e dicionários do português medieval, material que nos auxiliou no mapeamento das rimas nas cantigas medievais. A análise do sistema consonantal do Português Arcaico (PA), para estabelecer se havia ou não oposição entre os sons representados pelos grafemas focalizados, foi embasada no modelo estruturalista de Pike (1971 [1947]) e em obras que retomam o modelo de Pike, como Cagliari (2002), Souza e Santos (2012), Ferreira Netto (2011), Pickering (2010). Através da análise dos dados, verificamos que as consoantes fricativas na posição de onset silábico nas cantigas religiosas e profanas se comportam de maneira um pouco diferente nos dois corpora. Os segmentos representados pelos grafemas <ss>/<s>, por um lado, e <ç>/<c>/<z>, por outro, estabelecem entre si uma relação de oposição fonológica. Em relação à posição de coda silábica, nas CSM, os dados indicam uma oposição entre as sibilantes vozeadas e desvozeadas em posição de coda, bem como entre as sibilantes e as chiantes, mas os dados analisados nas cantigas profanas indicam que poderia já haver uma neutralização de vozeamento entre as sibilantes e entre estas e a consoante representada por <x>. Como não dispomos da presença do falante nativo para a comprovação da pronúncia da época, nosso estudo mostra, através da análise dos dados, a riqueza informativa da documentação poética, visto que o estudo das rimas e das variações gráficas é de fundamental importância para o estabelecimento das realizações fonéticas e para a depreensão do sistema fonológico vigente (MATTOS E SILVA, 1989, p. 40). Por isso, este estudo é relevante na compreensão da história da língua portuguesa, uma vez que a coleta e a análise dos dados trazem confirmações de suposições levantadas pelos estudiosos sobre as fricativas sibilantes e chiantes no PA e indícios que ajudam a apontar a datação de processos fonológicos como a neutralização das fricativas em coda (MATTOS E SILVA, 2006; MAIA, 1997 [1986]; TEYSSIER, 1987). / The objective of this thesis is to study (sibilant and nonsibilant) fricatives on medieval cantigas as from the existing relation among graphemes and represented sounds and possible spelling in religious and secular songs. The corpus is composed by 50 Cantigas de Santa Maria (CSM in Portuguese acronyms), extracted from 420 Marian songs to worship the Virgin Mary, compiled in Galician-Portuguese by Afonso X, and 150 secular songs, composed by 50 cantigas de amigo (= friend songs), 50 cantigas de amor (= love songs) and 50 cantigas de escárnio e maldizer (= satirical songs). The methodology is based on the analysis of rhymes and spelling variations presented on medieval songs, in order to study the phonetic realization of fricatives from a language time with no more living speakers. In addition, our research consultation on glossaries, rhyming dictionaries and dictionaries of medieval Portuguese was part of the methodological procedure. The analysis of the consonantal system of archaic Portuguese (PA in Portuguese acronyms) to establish whether there was or not opposition among sounds represented by the focused graphemes was based on the structuralist model of Pike (1971 [1947]) and on contributions which resume Pike’s model, as Cagliari (2002), Sousa and Santos (2012), Ferreira Netto (2011), Pickering (2010). Through data analysis, we verified that fricative consonants on onset syllabic position present a little different behavior in religious and secular cantigas. Sounds represented by graphemes <ss>/<s>, on the one hand, and <ç>/<c>/<z>, on the other hand, establish a relation of phonetic opposition. Regarding the opposing syllabic coda, data provided by the CSM indicate an opposition among voiced and voiceless sibilant consonants, between sibilant and nonsibilant as well, but data analyzed on secular songs indicate that there could be already a voicing neutralization among sibilants themselves and among them and consonants represented by <x>. Because we do not have the presence of a native speaker for proving the exact pronunciation from that time, our study shows, through data analysis, the informative richness of poetic documentation, since the study of rhyme and graphic variations is fundamental to establishing phonetic variations and to the apprehension of the current phonetic system (MATTOS E SILVA, 1989, p. 40). For that reason, this study is relevant for the comprehension of the Portuguese language history, since the collection and the analysis of data confirm the assumptions raised by scholars about sibilant and nonsibilant fricatives on PA and the evidence provided by the data helps dating of phonetic processes such as neutralization of fricatives on syllabic coda (MATTOS E SILVA, 2006; MAIA, 1997 [1986]; TEYSSIER, 1987)

Au moment où la scène poétique au Moyen Orient était ébranlée par un bouleversement inouï du point de vue de la forme et du style, le mouvement littéraire et intellectuel marocain, dont la poésie s’abandonnait durant les trente premières années du XXème siècle, à une torpeur et à un anachronisme dont il avait du mal à s’arracher. L’onde de choc orientale finira avec le temps par atteindre les poètes marocains,mais leurs tentatives timides et embarrassées, ne seront pas à la mesure des espoirs escomptés.Dans les années soixante-dix, un groupe de poètes marocains animé par une ambition incoercible, attentif à la refonte et empressé - à coups de manifestes et de textes émancipés - d’en finir avec le legs mitigé des poètes de la modernité des années soixante, va s’engager dans une écriture désencombrée de toutes contraintes. Ni le poème classique, ni le poème de vers libre ne les convainc plus. Ils veulent la rupture.Cette radicalisation délibérée, transgressive qui va toucher la langue, la grammaire, la signification et les rythmes, et va conduire à une crise poétique et à mettre des obstacles entre le lecteur et la poésie moderniste”. / During the early twenty years of the 20 th centry, the intellectual and literarymovement in Morocco was outdated. The poetry of that time also kept on reproducingthe same old poetic genres. In the course of time the moroccan poets will realise that thearabic poetic movementhad reached a high level researching new styles and new forms.Influenced by theconcept of revival, the moroccan poets attempted to go beyond the bounds oftraditional poetry.However, their attempts remained very limited. The 1970s, in Morocco, werecharaterised by the birth of an ambitious group of poets. As early as their first texts,they asserted their longing to go beyond the experience of the 1960s, and to write a textthat is free from any constraint related to the classical poem or the free verse one. Neverthe less, their radical modernist experience will transform the poetry the 1970s into aprocess of transgression that will affect language, grammar, meaning and rhythm.Moreover,it will lead to a poetic crisis putting obstacles between the reader and themodernist poetry.

Ce projet d’édition et d’étude du Recueil de l’origine de la langue et poesie françoyse, Ryme et Romans. Plus les noms et sommaires des œuvres de CXXVII. poetes françois, vivans avant l’an M. CCC. de Claude Fauchet est accompagné d’un commentaire du livre I. Publié en 1581, le Recueil de Claude Fauchet se donne pour mission de retracer l’origine de la poésie, de la langue française, de la rime et du roman ; un objectif précisé dès son titre et auquel répond le livre I. C. Fauchet entreprend de retracer ces genèses multiples sous un angle nationaliste. La haute estime qu’il a vis-à-vis de son pays transparaît à de nombreuses reprises, notamment lorsqu’il développe l’exportation internationale de la culture française, l’influence des poètes français sur leurs condisciples européens, la précocité littéraire de la langue vernaculaire française, etc. Toutes ces informations sont données selon une progression diachronique : sont d’abord précisées l’origine de la parole, puis celle du langage et de la langue, vient ensuite la diversification de celle-ci en idiomes divers et enfin les causes expliquant les mutations dont ils sont l’objet. Sont également développées dans le Recueil l’émergence et l’évolution de la poésie : sa naissance est dite grecque grâce à l’excellence des productions helléniques qui ont servi de modèles aux Romains. C. Fauchet distingue ensuite deux types de poésie : celle de langue latine et celle de langue vernaculaire. Alors que la première répond à un impératif de mesure et de quantité ; la seconde nécessite quant à elle de la mesure et du son. Pour cette raison, c’est à la poésie vernaculaire que revient l’émergence de la rime. L’ensemble des réflexions qui constituent le Recueil sont par ailleurs traitées de manière scientifique : C. Fauchet prouve sans cesse ce qu’il affirme par la caution d’auteurs et de textes variés manifestant l’étendue de son érudition ; il s’oppose également à tout ce qui relève du mythe et de l’invraisemblance, préférant aux discours fabuleux des explications rationnelles. En tant qu’humaniste, C. Fauchet tient à diffuser largement ses savoirs, c’est pour cette raison qu’il traduit presque systématiquement les citations qu’il emprunte, que celles-ci soient grecques, latines ou en vieux-haut-allemand. En aucun cas, le Recueil ne se veut polémique : chacune des positions est subtilement exposée et les réprobations deC. Fauchet sont toujours exprimées avec modération. Le Recueil est donc une œuvre riche, traitant de thèmes variés, et engagée dans la défense de la langue française. C’est d’ailleurs afin d’en conserver les premiers monuments littéraires que le livre II trouve sa raison d’être : afin de les préserver, C. Fauchet a recopié de nombreux extraits de textes de trouvères antérieurs à 1300 ; c’est uniquement grâce à lui que certains ont été conservés. / This project of an edition of the Recueil de l’origine de la langue et poesie françoyse, Ryme et Romans. Plus les noms et sommaires des œuvres de CXXVII. poetes françois, vivans avant l’an M. CCC by Claude Fauchet comes with a commentary of the first book. Published in 1581, le Recueil, is expected to trace the origin of poetry, of the French language, rhyme, and novel : an objective which is clearly set in its title and accomplished in the first book.C. Fauchet undertakes this multiple genesis under a nationalist point of view : all of his work is tinged with patriotism. The high esteem he has for his country shows on numerous occasions, especially when he explains the international export of French culture, the influence of French poets on their European peers, the literary precocity of its vernacular language, etc. All these elements are unfolded in a diachronic progression : first the origin of the word and that of language ; then comes its diversification in various idioms ; and, finally, the causes for these variations. Also developed in the Recueil, is the emergence and evolution of poetry, said to be of Greek origins thanks to the excellence of Greek productions, which have served as models to the Romans. C. Fauchet makes a distinction between two types of poetry: Latin and vernacular. While the first addresses the need for measure and quantity, the latter requires measure and sound. For this reason, rhyme blooms in vernacular poetry. Besides, the sum of reflections which make up the Recueil are treated scientifically :C. Fauchet constantly proves what he says by the authority of authors and various texts demonstrating the extent of his erudition ; he also opposes anything mythical or implausible, preferring rational explanations to fables. As a humanist, C. Fauchet wishes to widely disseminate his knowledge ; this is why he almost invariably translates his quotes from Greek, Latin or Old High German. In no case is the Recueil meant to be controversial : each position is subtly exposed and C. Fauchet’s disapproval is always expressed with moderation. Therefore, the Recueil is a rich work, covering various themes, and is committed to the defence of the French language. It is also in the preservation of the first literary monuments that the second book finds its reason for being : to preserve them, C. Fauchet has copied many extracts from texts written by trouvères prior to 1300 ; it is exclusively thanks to him that some are preserved.

Poetry, as a special form of literature, is crucial for computational linguistics. It has a high density of emotions, figures of speech, vividness, creativity, and ambiguity. Poetry poses a much greater challenge for the application of Natural Language Processing algorithms than any other literary genre. Our system establishes a computational model that classifies poems based on similarity features like rhyme, diction, and metaphor. For rhyme analysis, we investigate the methods used to classify poems based on rhyme patterns. First, the overview of different types of rhymes is given along with the detailed description of detecting rhyme type and sub-types by the application of a pronunciation dictionary on our poetry dataset. We achieve an accuracy of 96.51% in identifying rhymes in poetry by applying a phonetic similarity model. Then we achieve a rhyme quantification metric RhymeScore based on the matching phonetic transcription of each poem. We also develop an application for the visualization of this quantified RhymeScore as a scatter plot in 2 or 3 dimensions. For diction analysis, we investigate the methods used to classify poems based on diction. First the linguistic quantitative and semantic features that constitute diction are enumerated. Then we investigate the methodology used to compute these features from our poetry dataset. We also build a word embeddings model on our poetry dataset with 1.5 million words in 100 dimensions and do a comparative analysis with GloVe embeddings. Metaphor is a part of diction, but as it is a very complex topic in its own right, we address it as a stand-alone issue and develop several methods for it. Previous work on metaphor detection relies on either rule-based or statistical models, none of them applied to poetry. Our methods focus on metaphor detection in a poetry corpus, but we test on non-poetry data as well. We combine rule-based and statistical models (word embeddings) to develop a new classification system. Our first metaphor detection method achieves a precision of 0.759 and a recall of 0.804 in identifying one type of metaphor in poetry, by using a Support Vector Machine classifier with various types of features. Furthermore, our deep learning model based on a Convolutional Neural Network achieves a precision of 0.831 and a recall of 0.836 for the same task. We also develop an application for generic metaphor detection in any type of natural text.

We explore a dataset of almost half a million English song lyrics through three different processes - automatic evaluation, visualization, and generation. We create our own rhyme detector, using the EM algorithm with several improvements and adjustable parameters. This may, in some cases, replace human evaluators that cannot be used, for example, after each iteration of the lyrics generator to evaluate its improvement. By creating a web-page visualization of the results with interesting matrix rhyme highlighting, we make our evaluation accessible to the public. We discuss interesting genre differences discovered by applying our automatic evaluation on the entire dataset. Finally, we explore lyrics generation using state-of-the-art GPT-2.

No description available.

This dissertation deals with the poetry of C.S.Z. Ntuli, with specific reference to themes, diction and form. The introductory chapter deals with the aim of study, the author's biographical background, the development of modern Zulu poetry, the state of critical studies in modern Zulu poetry, the scope of study and the method of approach. Chapter 2 examines the main themes manifest in the poetry of Ntuli. Chapter 3 is devoted to diction, with particular reference to imagery, compound words, ideophones and deideophonic derivatives. Comment is also made on ways in which these amplify the theme in selected poems. Chapter 4 discusses outstanding formal features and techniques including stanza formation, refrains, alliteration, parallelism, linking and rhythm. Chapter 5 concludes the study by giving observations about the quality of Ntuli's contribution to modern Zulu poetry, and by exploring some possibilities regarding future studies on the poetry of Ntuli / African Languages / M. A. (African languages)

The introduction contains separate studies of the manuscripts, their orthographies, the rhymes, metre and treatment of source material. Both the orthographic studies and the rhyme—grammar reveal Athis to be a CG poem with no real evidence of Rhenish provenance. The metrical studies, dealing with vowel collision and units of one and three syllables, show how the <u>Athis</u> poet pursued various legitimate rhythmic options in his attempt to introduce variation to the tedium of regular alternation. The most positive results emerge from the comparison of <u>Athis</u> with its OF source, the <u>Roman d'Athis</u>. The dependence of the German text on the OF poem can be proved through misunderstandings of lines and part—lines of the <u>Rd'A</u> enshrined in proper names in the German text. By far the most important aspect of the German poet's adaptation is his sense of history. Ancient Rome and Athens are presented in an entirely different way in the German text. In particular, the large scale descriptions of ceremonies and major events are scenically developed under the influence of medieval historiographic ideas. Further supplementary source material is provided by a Pseudo—Ovidian treatment of <u>Pyramus and Thisbe</u> and a number of medieval military and judicial customs associated with Roman models. In general <u>Athis</u> is shown to be indebted to a medieval German self—awareness of <u>Romanitas</u>.

The main goal of this dissertation is comparison of different translations of the poem Zone in the czech languague. The key part of this work is an analysis of the translation of selected passage od Zone. The summary which describes each translation of the poem is elaborated on the basis of this part. We can divide the translations of Zone into three basic streams: Karel Čapek and Petr Kopta hold the reproducing style of translation. Petr Skarlant and Karel Sýs prefer a less precise translation enriched with their own invention. Gustav Francl tends rather to the reproducing concept, but we would describe his style more as modernizing. To create sufficiant information foundations for the analysis of translations, the whole first part of the dissertation is dedicated to the theory of artistic translation, the personage of Guillaume Apollinaire, the analysis of Zone and the personages of the Czech translators. Powered by TCPDF (www.tcpdf.org)

A definição mais imediata para canção de ninar, uma das várias denominações brasileiras para este gênero poético-musical, é estabelecida por sua finalidade: canção feita para adormecer criança pequena; uma definição funcional,portanto. A análise do conteúdo poético e da forma destas canções permite identificar os elementos imprescindíveis à sua composição e eficácia estética, ampliando tal conceito. Desta maneira, a canção de ninar pode ser considerada um dos primeiros objetos culturais a que o ser humano é exposto. O medo da morte (perdas, despedidas, separações), presente nos cuidados maternos, paternos e de outros adultos com as crianças pequenas, especialmente com os recém-nascidos, penetra as canções de ninar em diferentes culturas, expressando-se em vários elementos, inclusive em suas figuras de terror. A esta linha interpretativa, substancializada por constatações advindas de uma prática clínica de atendimento psicológico às famílias de recém-nascidos, foi acrescida outra de caráter mais sociológico: o estudo de alguns textos de canções de ninar tradicionais brasileiras revelou elementos dos encontros e desencontros étnico-culturais dos diferentes povos que formaram a nação brasileira. O traço de terror, geralmente compreendido como medida disciplinar para o sono, aparece acentuado nas nossas canções também porque se origina em um ambiente colonial, escravocrata, contaminado por ameaças e hostilidades. Junto a vestígios de horror apareceram também traços de resistência e preservação cultural das etnias indígenas e negras; como se as canções de ninar fossem veículos propícios ao transporte resguardado de elementos fundamentais da cultura dos grupos humanos colonizados ou escravizados. As pesquisas e reflexões de Mário de Andrade e o estudo de acalantos compostos por artistas brasileiros contemporâneos permitiram conhecer e delinear melhor este gênero: o contexto que o origina, seu tom melancólico, sua forma curta e repetitiva, o uso da sonoridade nasal hum e da vogal u. Por sua qualidade artística, o acalanto pode revigorar o ambiente cultural que cerca o nascimento e a infância. Neste sentido, ele é potencialmente humanizador. O ambiente cultural é tão fundamental e delimitador da experiência humana quanto o ambiente físico e emocional (familiar ou institucional). Cuidar do surgimento das palavras, da sua afinação com a experiência vivida, de seu vigor e sentido; cuidar da experiência inicial com a palavra é condição para o desenvolvimento pleno deste ser de linguagem que é o homem. Assim, redimensiona-se neste estudo o conceito de puericultura que passa a abranger também as ações de cultivo da palavra e da poesia com a criança pequena. / The most immediate definition of lullaby, only one among several Brazilian denominations for this poetic-musical genre, is determined by its main purpose: a song intended for little children to fall asleep, a functional definition, therefore. The analysis of the poetical content and of the form of these songs allows us to identify the essential elements of their aesthetic composition and effectiveness, broadening such concept. Thus, the lullaby may be considered one of the first cultural objects that the human being is exposed to. The fear of death (losses, farewells, separations), present in the cares given by mothers, fathers and other grown-ups to little children, especially newborn babies, permeates the lullabies in different cultures, expressing itself in many elements, including its terror figures. To this interpretative line, based on observations derived from the practice of psychological assistance to the families of newborn babies, another one of a more sociological nature has been added: the study of some texts extracted from traditional Brazilian lullabies has revealed elements of the ethnic-cultural matches and mismatches of the different cultures that shaped the Brazilian nation. The element of terror, generally understood as a disciplinary measure for sleeping, is highlighted in our songs because it also has its origin in a colonial slave-based environment, contaminated by threats and hostilities. Along with the vestiges of horror, there have arisen traces of resistance and cultural preservation of black and indigenous ethnic groups, as if the lullabies had been proper conducive vehicles to the hedged transportation of fundamental elements of the culture of the colonized or enslaved human groups. The researches carried out by Mario de Andrade, as well as his reflections, and the study of lullabies composed by contemporary Brazilian artists allowed the better understanding and outline of this genre: the context where it comes from, its melancholic tone, its short and repetitive form, the use of the nasal sonority \'hum\' and the vowel \'u\'. For its artistic value, the lullaby can be quite refreshing for the cultural environment surrounding birth and childhood. In this sense, it is potentially humanizing.The cultural environment is as important and delimiting for human experience as the physical and emotional environment (familiar or institutional). Caring about the arising of new words, their affinity to the life experience, their vitality and sense; caring about the initial experience with words is a condition for the full development of this language-based being, the man. Hence, in this study, the concept of childcare is resized so as also to include the actions of cultivation of word and poetry with the little child.