Le Remerciement dans le Monde de Shakespeare : Contextes et Etudes de CasDans cette thèse nous explorons ce que le remerciement signifie à l’époque élisabéthaine et comment il se manifeste. Aussi nous analysons le remerciement tel qu’il est défini dans les dictionnaires d’e l’époque. Nous examinons également les textes religieux, les manuels de courtoisie, les traités de rhétorique qui mentionnent l’acte de remerciement. Après analysé ce contexte, nous abordons le remerciement comme acte de langage à la lumière de la pragmatique.On définit l’existence réelle du mot à partir de son degré d’influence sur le monde réel. Une simple combinaison de mots a le potentiel d’altérer une situation, n’importe laquelle. L’étude du pouvoir de la parole s’est inscrite dans le cadre théorique de ce que l’on appelle « la pragmatique ». Plus précisément, le concept « d’acte de langage » a été exploré non seulement dans la pragmatique mais aussi dans diverses disciplines ; telles que la philosophie du langage et aussi les études littéraires et théâtrales.Catherine Kerbrat Orecchioni (1984) a établi une distinction entre trois types de pragmatique : « énonciative », « illocutoire » et « conversationnelle » . Nous nous proposons d’étudier la seconde théorie qui est la pragmatique illocutoire où les valeurs illocutoires d’un énoncé sont parfaitement exploitées. Dans notre propos, les contextes d’énonciation que nous avons sélectionnés ne sont pas ordinaires. Car notre étude porte sur des fragments théâtraux tirés de Shakespeare avec leur complexité et leur particularité. Le théâtre est bien un lieu où dire est par excellence faire. Donc la parole dramatique est mise au service de l’action. Promettre dans un contexte réel peut s’accomplir différemment sur scène. En prenant l’hypothèse que le langage sert à faire avancer l’action, nous allons nous intéresser au « thank you » qui signifie «merci » en français dans les pièces de Shakespeare tout en étudiant les contextes d’énonciation du remercîment au cours de la période élisabéthaine. Notre objectif est de voir comment les différents concepts de la pragmatique élaborés permettent de dévoiler certains aspects pertinents du remerciement typiquement shakespearien. Cette forme d’analyse alimentera notre réflexion afin d’éclaircir la fonction du remerciement au théâtre. Il est aussi indispensable d’observer les modes de réalisation du remerciement de ces différentes scènes ainsi que le ton et le contexte. Dans un premier temps, l’élucidation de notre concept principal est primordiale. Que veut donc dire « remercier » ou de quoi s’agit-il quand on parle d’un acte de remerciement ?D’après l’Oxford English Dictionary (OED ), « thanks » veut dire : « to express gratitude or obligation to »; « to give the thanks or credit for something to consider or hold responsible »; « ironical use to blame »; « thank you for nothing an ironical expression indicating that the speaker thinks he has been offered nothing worth thanks ». On a aussi le « thank offering » qui a été utilisé en 1536 qui est expliqué « in the Levitical law, an offering presented as an expression of thankfulness or gratitude to god; hence an offering or gift made by way of thanks or acknowledgement ». Dans les textes de Shakespeare le terme « thank » a été employé sous plusieurs formes. Nous citons « thank, thankful, tank, dank, thanks ». On trouve bien aussi « gramercy » qui veut dire « grand merci ». Selon the Harvard Concordance le mot « thank » a été employé trois cent quarante-six fois et « thanks » deux cent deux fois. Citons comme example « Sir, you may thank yourself for this great loss » (TMP, 2.1.124), « I thank god and my cold blood” (ADO, 1.1.130). “I am even poor in thanks but I thank you (HAM, 2.2.273). On trouve aussi le le terme Allemand « dank » qui a aussi été utilisé pour remercier dans « by gar, me dank you for dat » (WIV, 2.3.90). / Scenes of Thanking in Shakespeare’s World examines how Shakespeare makes of the word “thanks” and the expression “thank you” a dramatic art of thanking in his plays. Through this research, thanking scenes are selected according to the frequency of the word “thanks”. However, the occurrence of the word solely does not define a scene of thanking. Shakespeare’s plays incorporate verbal and non-verbal thanking. Verbal thanking occurs as a speech act or a polite answer to acknowledge or praise a benefit received, while a non-verbal thanking is sometimes presented under forms of social rituals and practices such as gift giving, sacrifice, prayer and religious songs. This thesis’ corpus is composed of history plays, Romeo and Juliet, All’s Well that Ends Well, Pericles, Timon of Athens, Coriolanus, and The Winter’s Tale. This selection is based on some criteria considered by the researcher, such as the frequency of the word in the scene or the play and its role in the plot or characters’ state of mind. Shakespeare artfully makes thanking an iconic code on the stage, creating conventionalised forms, expressions and contexts for it to be uttered.

Conclusion. The objective of this work was to concentrate on eighteenth century female authors. Simultaneously popular and severely criticised during their time, the playwrights, short fiction writers and novelists succeeded in the establishing of the tradition of women's writing and established the foundations for the following generations. Nevertheless, they have usually been omitted from the canon. Only in the recent decades, with the increasing interest in the literary margins and gaps, have they been 'resurrected' and, to some extent, done justice to. This paper in particular focuses on the talented playwright Hannah Cowley, the prolific and versatile, mostly prose-writer and journalist Eliza Haywood and the renowned critic and a novelist Elisabeth Inchbald and their works. All the three women authors can be said to be innovative and original. They overcame the obstacles of social prejudice and left a rich textual legacy to their adherents. In particular, the paper attempted to analyse the masquerade scenes in Cowley's The Belle's Stratagem, Haywood's Masqueraders, or the Fateful Curiosity and Inchbald's Simple Story to attest to the importance of the masquerade and to register its varied textual reflections. The masquerade as a social practice and a cultural event was highly fashionable in the...

Nesta tese, propomos uma reflexão acerca dos mecanismos de construção da significação do discurso ecológico a partir da abordagem discursiva interdisciplinar, que abrange a Análise do Discurso francesa e a Semiótica greimasiana. De um lado, analisamos seis anúncios publicitários que foram publicados na Revista Veja e selecionados a partir de uma perspectiva diacrônica. De outro lado, são analisadas duas reportagens, publicadas pelo mesmo veículo midiático, que abordam a temática determinada pela queda da barragem de Mariana. As categorias identificadas em nível profundo, que fundamentam o discurso ecológico /vida/ vs. /morte/ invadem as cenas genéricas analisadas de modo próprio. Nesse ponto incorporamos os conceitos tensivos de triagem e mistura (ZILBERBERG, 2004) e, com base nas análises, sugerimos ainda o alargamento da escala de mestiçagem desenvolvida a partir dos desdobramentos tensivos da semiótica. Os graus propostos como alargamento da escala de mestiçagem, além de revelarem a estruturação interna do sentido, descortinam determinada ideologia como visão de mundo (FIORIN, 2004). Outrossim os graus propostos manifestam os valores sob os quais a imagem de si está calcada. Nessa perspectiva, a noção de éthos (MAINGUENEAU, 2010) contribui para a compreensão acerca da construção da imagem do enunciador como corpo discursivo (DISCINI, 2015), depreendido de determinada totalidade de enunciados. Ademais, contribui ainda para reflexão acerca do processo de incorporação (MAINGUENEAU, 2008) desse estilo, por parte da comunidade discursiva fundada na temática ressaltada. Nossa proposta, por fim, está cravada na reflexão acerca das modulações tensivas firmadas como estruturantes da significação em nível profundo e confirmadas em nível discursivo e interdiscursivo. Procuramos ficar nas fronteiras, olhando para a vizinhança entre a Análise do Discurso francesa e a Semiótica discursiva, ao buscarmos entre um gênero e outro da mídia impressa distintos modos de ser e de habitar o mundo, compreendidos, cada qual, como atualização de ponto de vista e incorporação de um sujeito discursivo como percepção não caótica. / In this thesis, we propose a reflection on the mechanisms of construction of the meaning of ecological discourse from the interdisciplinar discursive approach that covers French Discourse Analysis and Greimasian Semiotics. On the one hand, we have analyzed six advertisements published in Veja Magazine and selected from a diachronic perspective. On the other hand, the two reports analyzed, also published by the same media vehicle, deal with the theme determined by the fall of Mariana dam. The categories identified at the deep level, which base the ecological discourse /life/ vs. /death/ invade the generic scenes analyzed in their own way. In this point we incorporate the tensive concepts of sorting and mixing (ZILBERBERG, 2004), and, based on the analyzes, we also suggest the widening of the mestization scale proposed by the tensional unfolding of semiotics. The degrees proposed as an extension of the mestization scale, besides revealing the internal structuring of meaning, reveal a certain ideology as a world view (FIORIN, 2004). They also manifest the values under which the image of itself is based. In this perspective, the notion of éthos (MAINGUENEAU, 2010) contributes to the comprehension upon the construction of the enunciators image as a discursive body (DISCINI, 2015), that underlies under a certain totality of statements. In addition, it contributes to the reflection upon the incorporation process (MAINGUENEAU, 2008) of this style, by the discursive community based on the highlighted theme. Our proposal, finally, is embedded in the reflection about the tensive modulations established as structuring of signification at the deep level and confirmed at the discursive and interdiscursive level. We seek to stay at discursive frontiers, looking at the neighborhood between french Discourse Analysis and discursive Semiotics, as we seek between different genres of media, different ways of being and inhabiting the world, each understood as point of view updating and incorporation of a discursive subject as non-chaotic perception.

Nesta tese, propomos uma reflexão acerca dos mecanismos de construção da significação do discurso ecológico a partir da abordagem discursiva interdisciplinar, que abrange a Análise do Discurso francesa e a Semiótica greimasiana. De um lado, analisamos seis anúncios publicitários que foram publicados na Revista Veja e selecionados a partir de uma perspectiva diacrônica. De outro lado, são analisadas duas reportagens, publicadas pelo mesmo veículo midiático, que abordam a temática determinada pela queda da barragem de Mariana. As categorias identificadas em nível profundo, que fundamentam o discurso ecológico /vida/ vs. /morte/ invadem as cenas genéricas analisadas de modo próprio. Nesse ponto incorporamos os conceitos tensivos de triagem e mistura (ZILBERBERG, 2004) e, com base nas análises, sugerimos ainda o alargamento da escala de mestiçagem desenvolvida a partir dos desdobramentos tensivos da semiótica. Os graus propostos como alargamento da escala de mestiçagem, além de revelarem a estruturação interna do sentido, descortinam determinada ideologia como visão de mundo (FIORIN, 2004). Outrossim os graus propostos manifestam os valores sob os quais a imagem de si está calcada. Nessa perspectiva, a noção de éthos (MAINGUENEAU, 2010) contribui para a compreensão acerca da construção da imagem do enunciador como corpo discursivo (DISCINI, 2015), depreendido de determinada totalidade de enunciados. Ademais, contribui ainda para reflexão acerca do processo de incorporação (MAINGUENEAU, 2008) desse estilo, por parte da comunidade discursiva fundada na temática ressaltada. Nossa proposta, por fim, está cravada na reflexão acerca das modulações tensivas firmadas como estruturantes da significação em nível profundo e confirmadas em nível discursivo e interdiscursivo. Procuramos ficar nas fronteiras, olhando para a vizinhança entre a Análise do Discurso francesa e a Semiótica discursiva, ao buscarmos entre um gênero e outro da mídia impressa distintos modos de ser e de habitar o mundo, compreendidos, cada qual, como atualização de ponto de vista e incorporação de um sujeito discursivo como percepção não caótica. / In this thesis, we propose a reflection on the mechanisms of construction of the meaning of ecological discourse from the interdisciplinar discursive approach that covers French Discourse Analysis and Greimasian Semiotics. On the one hand, we have analyzed six advertisements published in Veja Magazine and selected from a diachronic perspective. On the other hand, the two reports analyzed, also published by the same media vehicle, deal with the theme determined by the fall of Mariana dam. The categories identified at the deep level, which base the ecological discourse /life/ vs. /death/ invade the generic scenes analyzed in their own way. In this point we incorporate the tensive concepts of sorting and mixing (ZILBERBERG, 2004), and, based on the analyzes, we also suggest the widening of the mestization scale proposed by the tensional unfolding of semiotics. The degrees proposed as an extension of the mestization scale, besides revealing the internal structuring of meaning, reveal a certain ideology as a world view (FIORIN, 2004). They also manifest the values under which the image of itself is based. In this perspective, the notion of éthos (MAINGUENEAU, 2010) contributes to the comprehension upon the construction of the enunciators image as a discursive body (DISCINI, 2015), that underlies under a certain totality of statements. In addition, it contributes to the reflection upon the incorporation process (MAINGUENEAU, 2008) of this style, by the discursive community based on the highlighted theme. Our proposal, finally, is embedded in the reflection about the tensive modulations established as structuring of signification at the deep level and confirmed at the discursive and interdiscursive level. We seek to stay at discursive frontiers, looking at the neighborhood between french Discourse Analysis and discursive Semiotics, as we seek between different genres of media, different ways of being and inhabiting the world, each understood as point of view updating and incorporation of a discursive subject as non-chaotic perception.

The purpose of this essay is to examine Judith Butler’s approach to the problem of ethics, and the ways in which she attempts to reformulate notions of morality and responsibility based on an understanding of the subject as inherently bound to others within a context of normative structures that exceed its own influence. For Butler, this bond implies that the subject’s constitution is structured within what she calls a ”scene of address,” where it emerges into a social field by being appealed to by others, and replying to that appeal by giving an account of itself. By setting out to examine the way in which she puts two influential thinkers—namely Foucault and Levinas—to work, I will examine her notion of scenes of address more closely, and try to show how it enables her to pose the problems of ethics and morality in novel ways. I will argue that her ethics should be understood as one of relationality, since it moves away from the self-sufficient, autonomous subject as the outset for ethics, towards an understanding our very being as dependent on the being of others. This, I propose, puts it in contrast with many established ways of thinking about ethics, both within the Western philosophical tradition, and in views of ethics more generally. Thus, I hope to show that Butler’s ethics constitutes a valuable resource with regard to the question of ethical responsibility. Finally, I will propose that it carries significant implications that point towards ethical nonviolence, and that these are of increasing importance to us today.

Composition for symphonic wind ensemble.

The goal of this document is to demonstrate how Slovak folk music inspired creation of some early 20th century chamber, orchestral, and vocal-instrumental compositions. In examples drawn from works of Vítězslav Novák, Leoš Janáček and Béla Bartók the author analyzes the different ways of translating folk music idioms into the compositional language of these composers. The first of the introductory chapters presents an outline of distinctive features of Slovak folk music. It talks about the role of folk song in the life of Slovaks and its connection to social events in the villages. It also analyzes the relationship between language and music. The coexistence of modal and tonal music is emphasized and songs are divided into historical periods. In the second part of the introduction an historic overview of the influence of Slovak folk music in classical music is given. The chapter covers the first known occurrences of this influence in the collections of songs and dances from the Baroque era and the occasional references in the Classical and Romantic music. The impulses behind the wave of interest in Slovak folk music in the 20th century are also examined. The first chapter documents the influence of Slovak folk music on Vítězslav Novák. It describes his early career and his first encounters with Slovakia. The central part of this chapter consists of analysis of the symphonic poem In the Tatras, a work inspired by Slovakia and containing Slovak music references. The second chapter of this document is devoted to Leoš Janáček. His multifaceted approach to folk music included an intimate knowledge of people’s lifestyle, traditions, local dialects and speech patterns. The fruit of his research is documented in the song collection 26 Folk Ballads. The majority of these arrangements for voice and piano are of Slovak origin. The final chapter examines the personal and artistic ties of Béla Bartók to Slovakia. Bartók employed folk music elements in his compositions with a genius which made him a master of such compositional approach. The variety of ways by which Bartók used Slovak folk music is scrutinized in the analysis of Three Village Scenes.

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Theodor Kullak (September 12, 1818 - March 1, 1882) composed "Scenes from Childhood," Op. 62 and Op. 81 for young piano students. This thesis is a guide for teaching these pieces to intermediate piano students. Following Kullak's biography, aspects of note-reading, fingering, rhythm, technique, and musicality are discussed and illustrated in specific examples from the music.

Doctor of Philosophy / Department of Psychological Sciences / Lester C. Loschky / Political videos are created as persuasive media, and at a basic level that persuasion would require that the videos guide viewer attention to the relevant persuasive content. Recent work has shown that filmmakers have techniques that allow them to guide where viewers look, and this guidance occurs even when viewers have very different understandings of the film. The current research tested if these attentional effects carry over to political videos, or if the top-down factors of attitude congruence and social vigilantism, belief superiority and the tendency to impress one’s “superior” beliefs on others (O'Dea, Bueno, & Saucier, 2018; Saucier & Webster, 2010; Saucier, Webster, Hoffman, & Strain, 2014), will break the ability of videos to guide viewers’ attention. Attentional selection was measured through participants’ eye movements, and memory encoding was measured through recall and recognition for both verbal and visual information. Three overarching competing hypotheses predicted different relationships between attitude congruence, social vigilantism, and visual attention and memory. The Tyranny of Film Hypothesis predicted that the videos would guide viewer attention, regardless of attitude congruence. This would result in similar eye-movements and memory for all participants. The Selective Exposure Hypothesis predicted that participants would avoid processing attitude-incongruent information. As a result, viewers’ visual attention would be directed away from attitude-incongruent information, and subsequent memory would be worse. Lastly, the Social Vigilantism Hypothesis predicted that people high in Social Vigilantism would engage more with attitude-incongruent information. Two experiments tested these hypotheses. The first was the Memory experiment (conducted online), and the second was the Eye movement experiment. In each experiment, participants watched a series of political advertisement and debate videos, and attitudes were measured to identify which information in the videos was attitude-congruent and incongruent. The Memory experiment showed some support for the Social Vigilantism Hypothesis, with People high in Social Vigilantism having better memory for attitude-incongruent information on certain memory measures. Conversely, the Eye movement experiment consistently showed strong stimulus driven effects in support of the Tyranny of Film, but also weaker attitude and social vigilantism effects that were independent of attitude congruence. Altogether, these results show dynamic video stimuli features are the best predictors of viewer attention and memory, but viewer attitude and social vigilantism have subtle top-down effects. The support for different hypotheses between the two experiments indicates the strength of top-down effects may depend on the format of the viewing experience, and specifically how much control the viewer has over the experience.