Subtitling is a discipline within the Audiovisual Translation (AVT) field that requires some special techniques and strategies to channel the information from a multichannel and polisemiotic document into a written text within the screen. It’s a constrained translation that demands an additional effort to convey the content and the form of the source text into the target one. The aim of this paper is to analyse whether the model of the kernel sentences and clausal ranks of the generative-transformational grammar would work as a more systematic method to extract the essential information of the audiovisual text and organize it in more concise and reduced units of text, i. e., the subtitles. We will also analyse whether this linguistic approach will be enough to meet our objective or if, on the other hand, other extralinguistic aspects intervene. The texts we will be using for our study are Roy Andersson’s commentary on three deleted scenes of his film “Songs from the second floor” and the documentary Den lilla människans storhet, a behind-the-scenes or making-of on the same feature.

Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2010-2011 / Ce mémoire porte sur trois musiques de concert que j'ai composées entre 2006 et 2009. Il traite plus spécifiquement de l'écriture par gestes-piliers dans la démarche compositionnelle qui a mené à leur réalisation. Au départ, ma réflexion sur la genèse de ces oeuvres - À propos des îles de lumières, Cinq pamphlets pour ailleurs et Les fatras du contre-jour - a mis au jour l'importance du concept d'art dans ma démarche. J'ai aussi noté que des notions comme intuition, intention, technique, imaginaire et projet esthétique sont essentielles à la compréhension de ce concept. Je me suis également penché plus spécifiquement sur ma méthode de composition : l'écriture par gestes-piliers s'est révélée comme l'axe principal de cette méthode. Je me suis alors questionné sur l'origine de ces gestes-piliers et j'ai identifié plusieurs sources d'influence, soit les musiques de Varèse, Scelsi, Sciarrino et Berio. Outre l'introduction et la conclusion, ce mémoire est construit en deux parties : chapitre 1, l'énoncé des différents concepts nécessaires à la compréhension de ma démarche compositionnelle et chapitre 2, l'illustration et l'analyse de l'écriture par gestes-piliers dans les oeuvres à l'étude.

This study presents a critical investigation into the teaching of computer ethics. A qualitative pluralistic approach (a mixture of qualitative approaches) was used to investigate case studies of teaching computer ethics to university-level students from Bahrain. The main issue was that ethics to Arabs and Muslims is a matter of religion than a matter of philosophy whereas the dominant perception in the academic literature which discussed computer ethics teaching is that computer ethics is a form of practical philosophy and hence separate from religion. In order to shed light on this, the study investigated computer ethic’s perceptions and teaching practices which were occurring in universities in Bahrain. The study found that the issue was not a matter of perception but rather a matter of confusion and a misconception. Computer ethics was being confused with morality, religion, basic computer skills to name just a few. And such confusion was causing computer ethics to gradually disappear from the curriculum and become substituted with concepts which were not necessarily capable of building students’ ethical thinking. The study recommends that computer ethics teachers and policy makers from Bahrain distinguish computer ethics from religion, morality and from any other concept and identify it as an independent field of study, also teachers need to involve their students in social and ethical analysis of various kinds so that students understand that ethics is not a set of rules on what is forbidden and allowed aimed at providing straightforward answers to a given problem but rather ethics is a ‘cognitive tool’; a mechanism through which different competing ethical theories and standards are used to reflect on a given problem.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

No description available.

This thesis is an examination of the influence and impact of the ‘Troubles’ in Northern Ireland, post 1968, on the practice of Irish history, on southern Irish broadcast media and on the southern Irish modernisation process. I will examine the uneasy and contested transition in systems of hegemony in a society where the state is not coterminous with perceptions of nationhood, where society is anxiously suspended between conservation of its existence and popular nationalist aspirations, where southern economic dependency interacted uneasily with northern political instability and sectarianism. The thesis examines the ‘Ulsterisation’ of the War of Independence by some historians and its aftermath as an ideological project. It pays particular attention, using the case-study method, to the imposition of a sectarian character on republican forces during the war of independence by the highly influential Newfoundland historian Peter Hart, and will explain why this research is ideologically problematic within Irish historiography. I will link this to (in a second case-study) the project undertaken in the early 1970s by Irish government minister (also an academic historian and political scientist) Conor Cruise O’Brien to undermine and eradicate from popular awareness secular anti-imperialist aspects of Irish nationalist consciousness, primarily through, in case-study three, the imposition of broadcasting censorship and support for repression. I question O’Brien’s positing of a ‘Catholic nationalism’ as an overarching basis for Irish statehood by, in case-study four, an examination the largely unexplored socio-economic position of Protestants in southern Ireland and the forms of social control imposed on and within that community. The thesis examines how official reaction to the conflict combined repression and broadcasting censorship during the 1970s to revise popular perceptions of Irish history and Irish society. Control of understanding of the present was combined with attempts to take control of perceptions of the past, in order to circumscribe the parameters of what is feasible in the present, so as to preserve the socio-economic status quo. It specifically explores the impact of the post 1968 Northern Ireland conflict on: • The attempt by proponents of Irish revisionist historiography to portray Irish resistance to British rule as ‘Catholic nationalism’ and as a mirror image generally of Ulster unionist sectarianism; in the context of • The simultaneous transformational change of economic direction in the southern Irish economy and society, which imparted to this project increased impetus, opportunity and political scope.

Made available in DSpace on 2015-04-14T14:40:50Z (GMT). No. of bitstreams: 1 407451.pdf: 13227593 bytes, checksum: 15a14899eb816b5517bba59d740f0b15 (MD5) Previous issue date: 2008-10-31 / O presente trabalho discute as imagens de Lichtenstein enquanto comunica??o. Tais imagens s?o respons?veis pela gera??o de uma linguagem visual pr?pria institu?da pela comunica??o visual contempor?nea, uma vez que existe a identifica??o do homem p?s-moderno com o estilo do artista. A hermen?utica de profundidade de John Thompson foi ? metodologia escolhida para viabilizar o desenvolvimento desta tese. Inicialmente aborda-se a hist?ria da comunica??o visual e suas transforma??es influenciadas pelas tecnologias. Apos tratam-se quest?es te?ricas relacionadas com a imagem e o imagin?rio. As vanguardas s?o abordadas no que tangem a Pop Art, movimento art?stico do qual participou Lichtenstein e que antecipa a visualidade p?s-moderna. O estilo Lichtenstein ? apropriado pela comunica??o visual p?s-moderna, pois, dentre outros fatores, ? tamb?m mais facilmente empregado atrav?s das novas tecnologias da inform?tica. Assim, as limita??es inerentes a per?odos anteriores relacionadas com a cria??o, a produ??o e a reprodu??o de imagens foram superadas. As imagens modernas do artista s?o analisadas e interpretadas para posteriormente fornecerem aporte ao entendimento das apropria??es p?s-modernas. As imagens s?o facilmente interpretadas pelo homem contempor?neo via imagin?rio, sendo condizentes com as caracter?sticas da configura??o s?cio-cultural da atualidade, a condi??o p?s-moderna. Suas imagens envolvem as no??es de projeto, de reprodu??o, de simplifica??o, de comunica??o direta, de trabalho em equipe, de apropria??o, de releitura e at? mesmo da est?tica da banalidade. Essas no??es permeiam a comunica??o visual contempor?nea, sendo Lichtenstein um artista revolucion?rio. Percebeu-se que a imagem ? um importante vetor de socializa??o e que o interc?mbio entre ?reas como arte, publicidade, design e cultura popular potencializa a comunica??o visual

The Sounds of Satyagraha: Gandhi's Use of Sung-Prayers and Ritual M.K. Gandhi's work towards Indian independence was influenced significantly by sung-prayers found in a collection entitled Ashram Bhajanavali, a collection which, in turn, gives fresh insight into the satyagraha movement. Gandhi's employment of sung-prayers, chant, and ritual has, however, gone unrecognized until this time. The Sounds of Satyagraha presents detailed information concerning how formative and how important these sung-prayers were to Gandhi and to the national independence movement. Chapter One sets forth this thesis, along with methodology, historical context, and certain terms defined. Chapter Two consists of a preliminary historical overview of the Ashram Bhajanavali, along with a descriptive summary of the sung-prayer materials found within it. (An analysis of ritual practices presented in Chapters 3 through 5 also provides additional information regarding historical context and development.) This collection of chanted prayers used by the Indian sayagraha community, has sometimes been referred to as a hymnal. However, the collection is much more than what the word "hymnal" might imply, both in the scope of its contents, and in its significance as a tool with which to understand the developments of Gandhi's satyagraha community. Chapters Three, Four, and Five examine in detail how the Ashram Bhajanavali was used in ritual contexts, and how these sung-prayers supported Gandhi and the nation in its work for social change. The ritual theory of Roy Rappaport is utilized to discover the Bhajanavali's sitz im leben. Chapter 3 discusses the use of these sung-prayers in ritual prayer meetings that occurred twice daily. Chapter 4 looks at additional ways in which these songs were used by Gandhi and the satyagraha community to achieve their purposes, as the movement grew into a national initiative. Chapter 5 considers how it is that this sung-prayer repertoire, being specifically sung and chanted (rather than spoken or read), had a significant power for India and appeal for the satyagraha communities. By placing this collection in its historical, social, and ritual contexts, the extent to which these sung-prayers influenced and shaped Gandhi's sayagraha in India becomes clear. Chapter 6 considers the life and work of one spiritual musician, Shri Karunamayee Abrol, who teaches the Ashram Bhajanavali, its melodies and its history. Shri Karunamayee's family were freedom fighters, and, as a child, she sang for Mahatma Gandhi, receiving his blessing. Shri Karunamayee represents a living tradition. Inspired by childhood experiences and her respect for Gandhi, she has a special devotion to this repertoire. As a spiritual musician, she is a "tradition-bearer" of the Ashram Bhajanavali. The chanting of these sung-prayers has been her daily devotional ritual for decades. Her teaching, which stems from both musical knowledge and Æ⁄¿‰ò™ experience, provides additional insight into satyagraha. Chapter Seven concludes with a review of the evidence, illustrating the large extent to which Gandhi was guided by the sung-prayers and principles found in the Ashram Bhajanavali collection. It also consists of reflections in an analysis of the success or failure of satyagraha. Ashram Bhajanavali offers insight into the Indian independence movement, which has not been acknowledged or identified previously. Final reflections place this collection within the on-going East-West dialogue, indicating its continuing importance in the current discussion.

This Master's thesis consists of two separate parts: Le vent dans les voiles, a travel fiction, is followed by a short essay, Le voyage comme archeologie de la memoire. / Le vent dans les voiles is both a travel fiction and a short apprenticeship novel. Julien Legare, an idealistic young man, is fond of Jim Morrison and Zarathoustra . As he is travelling in Europe, his dreams of intellectual and emotional liberation are breaking down to pieces. Disillusion eventually leads him to a new vision, beyond childhood nostalgia. / The essay is a mythocritical analysis of three Twentieth Century novels by Le Clezio, Proust and Gabrielle Roy: Le chercheur d'or, A la recherche du temps perdu and La Route d'Altamont . These books have in common the themes of travel, memory and creation. The three protagonists all long for the lost paradise of their childhood, thus they search for their origins. Travelling in space and time, on the outside and inside themselves, they become archaeologists of their own memory, digging for forgotten treasures. Is remembrance a topos of travel literature?

Qu'ils soient composés par des explorateurs, des membres du clergé ou des diplomates, les écrits de la Nouvelle-France ont une forte portée rhétorique. Les fonctions qui leur sont attribuées, voire les motifs de rédaction de ces textes, sont généralement d'ordres politique, religieux ou économique. L'expression de ces fonctions ponctue la narration et se dessine de différentes façons. Dans la « Lettre XII » de l'Histoire de l'Amérique septentrionale, Bacqueville de La Potherie se présente comme un témoin cohérent et lucide des circonstances entourant la Grande paix de Montréal de 1701. L'auteur rend compte des événements diplomatiques ayant mené à la signature de ce traité entre les nations autochtones alliées, les Iroquois et les Français. L'exclusion de La Potherie aux pourparlers de paix est la pierre angulaire .de notre recherche. En effet, les notions de conflit des codes et de scénographie révèlent l'ethos d'un narrateur sensé, sincère et sympathique. Dans notre mémoire, elles dévoilent un narrateur éclairé qui connaît le sujet traité. La première notion est le résultat du métissage entre des éléments référentiels antérieurs au texte et des éléments nouveaux qui y sont intégrés. La scénographie détermine les codes d'écriture que l'énonciateur choisit ou non de transgresser : elle est à la fois la provenance du discours et ce qui rend possible et essentiel ce discours, ce qui le légitime. Dans l'ouvrage, la scénographie du diplomate français créée par l'auteur relève de la fiction, mais elle s'inscrit dans la narration d'un fait historique, voire la signature d'un traité de paix. Tous ces éléments divergents contribuent à construire son ethos en organisant une « négociation » entre une scénographie de l'homme politique éclairé et la scène générique de l'historien traditionnel. Nous démontrons que la lettre dessine l'ethos d'un narrateur qui se fait valoir auprès de son destinataire, le ministre Jérôme Phélyppeaux de Pontchartrain. Avec son œuvre, l'auteur espère peut-être que ce dirigeant français exerce une pression sur le gouverneur de la Nouvelle-France, Louis-Hector de Callières, et insiste pour que ce dernier l'intègre aux pourparlers. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : scénographie, ethos, conflit des codes, Bacqueville de La Potherie, grande paix de Montréal, rhétorique.