This research is connected with syntax and comparative translation. It is about the problem of the dependence of the word order changing on the actual division of a sentence in translation of English literary text into Russian. The relevance of this work is connected with the insufficient knowledge of grammatical transformations and the actual division of sentences in modern translation studies, as well as with the lack of empirical material in comparative syntax. The object of the research is syntactic transformations, and the subject is the features of using syntactic transformations during translating from English into Russian. The purpose is the theme-rheumatic interpretation of syntactic transformations-permutations in the translation of J. D. Salinger's novel “The Catcher in the Rye” from English into Russian. The theme-rheumatic analysis of the original English text by J. D. Salinger and its Russian into English translations by R. Rait-Kovaleva and M. Nemtsov showed that during translating English monorems with rheme at the beginning of the sentence, the translator usually uses the transpositions: the transfer of rheme to the end of the sentence. / Данная работа выполнена на стыке синтаксиса и сопоставительного переводоведения. Она посвящена проблеме зависимости изменения порядка слов при переводе английского художественного текста на русский язык от актуального членения предложения. Актуальность данной работы заключается в недостаточной изученности грамматических трансформаций и актуального членения предложения в современном переводоведении, а также в нехватке эмпирического материала в сопоставительном синтаксисе. Объектом исследования являются синтаксические трансформации, а предметом – особенности использования синтаксических трансформаций при переводе с английского языка на русский. Цель исследования – тема-рематическая интерпретация синтаксических трансформаций-перестановок при переводе с английского языка на русский романа Дж. Д. Сэлинджера “The Catcher in the Rye”. Проведенный тема-рематический анализ исходного английского текста романа Дж. Д. Сэлинджера «The Catcher in the Rye» и его русскоязычных переводов, выполненных Р. Райт-Ковалевой и М. Немцовым, показал, что при переводе английских монорем, содержащих рему в начале высказывания, переводчиком устойчиво используется трансформация перестановки – перенос ремы в конец предложения.

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

Submitted by Divanete Paiva (divanete.paiva@utp.br) on 2018-08-01T13:05:08Z No. of bitstreams: 1 DA TV ABERTA.pdf: 121936601 bytes, checksum: 690afb7f076c8e54b3afeda326663afa (MD5) / Made available in DSpace on 2018-08-01T13:05:08Z (GMT). No. of bitstreams: 1 DA TV ABERTA.pdf: 121936601 bytes, checksum: 690afb7f076c8e54b3afeda326663afa (MD5) Previous issue date: 2012-08-31 / This research aims to present the general theoretical and practical information to understand how is the dialogue between 'television commercial open' and 'corporate television', their adaptations and transpositions media. At first it was discussed the specifics of television as a medium of mass communication, focusing on their technical and aesthetic characteristics, then, investigate how the transpositions occur for Corporate TV. The question guiding this thesis is to investigate whether HSBC's Corporate TV there is a 'reinvention' of broadcast television, an 'adaptation' or just a 'transposition' of that media. This study also proposes, from the standpoint of corporate communications, to analyze the use of a mass medium that is television character made with segmented, institutional and corporate, which is built to support internal communication companies and organizations. It appears then, a case study of HSBC's Corporate TV, HSBC TV, with the corpus selected and defined in four phases of its existence and activity, mapping technique, aesthetics and the language used and finally analyzed to the audiovisual media in general and their transpositions media. / Esta pesquisa tem como objetivo geral apresentar subsídios teóricos e práticos para entender como se dá o diálogo entre a ‘televisão aberta comercial’ e a ‘televisão corporativa’, suas adaptações e transposições midiáticas. De início, abordam-se as especificidades da televisão como meio de comunicação de massa, enfocando suas características técnicas e estéticas, para depois, investigar de que modo ocorrerem as transposições para a TV Corporativa. O questionamento norteador desta dissertação está em investigar se na TV Corporativa do HSBC há uma ‘reinvenção’ da TV aberta, uma ‘adaptação’ ou apenas uma ‘transposição’ daquela mídia. Este trabalho também se propõe, a partir do ponto de vista da comunicação empresarial, fazer uma análise da utilização de um meio de massa que é a televisão realizada com caráter segmentado, institucional e corporativo, que se constrói para dar suporte à comunicação interna de empresas e organizações. Apresenta-se então, um estudo de caso da TV Corporativa do HSBC, a HSBC TV, tendo como corpus selecionado e definido em quatro fases de sua existência e atuação, mapeando a técnica, a estética e a linguagem utilizada e, por fim, analisa-se os meios audiovisuais em geral e suas transposições midiáticas.

In this mini-dissertation the writer analyzed Hubert du Plessis’ Drie Stukke vir Fluit en Klavier, opus 25. He researched why Du Plessis uses three shorter series of different lengths. The relationship between the series in this work was researched, as well as the characteristic applications of the series. It was found that Du Plessis uses shorter series of different lengths as his compositional tool, because they are manageable and can be manipulated for any specific requirement or need. With fewer notes in a series, if chromatic notes are avoided, the music will lean itself to an impression of tonality. It is interesting for the researcher how the feeling of tonality was portrayed through the use of different series and hence the given dissertation was researched. In true atonal music, composers usually disregard third and halftone intervals. Yet, tritones are often used in atonal music. In retrospect, Du Plessis uses more third and halftone intervals than tritones. There is only one tritone in this work (found in the second series), as opposed to the use of third and halftone intervals throughout all three series. The feeling of tonality is further enhanced through fragments of the series that one can place in a specific key. With this in mind, it is evident to get the impression of tonality as a result of fragmentation from the series. Another aspect of tonality that cannot be ignored was the composer’s use of bitonality. The serial techniques that Du Plessis used, was also researched. It was found that Du Plessis did not make use of any new innovations. All these techniques were already used by composers like Schoenberg, Berg, Webern and Dallapiccola. The most important techniques that Du Plessis used, were: <ul> <li>The use of all the forms of the series and their transpositions</li> <li>Overlapping series (that is when the last note of the series, becomes the first note of the next series)</li> <li>Combination of series (superimposition)</li> <li>The dividing of series between the instruments</li> <li>The repetition of notes in a series before all the notes have been used</li> <Li>Sometimes notes are put in a different order, thereby losing the correct order of the series.</li></ul> / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted

In seinen Vingt Leçons d’Harmonie von 1939 versieht Olivier Messiaen zum Zweck des Studiums verschiedener harmonischer Stile von Monteverdi bis zur Gegenwart seine zwanzig selbst verfassten drei- bis fünfstimmigen Stilkopien mit bezifferten Bässen. Im Sinne einer Harmonie- und Kompositionslehre ist insbesondere die letzte Übung von Interesse, weil Messiaen in deren Titel keinen Komponisten als Vorbild der Stilübung nennt, sondern durch den Hinweis auf einen »sehr eigenartige[n], den indischen Gesängen etwas verwandte[n] Stil« auf seine eigene musikalische Sprache verweist. Dieser Beitrag zeigt anhand der 14. Übung (»sehr vielfältiger Stil: ein wenig Schumann, ein wenig Fauré, ein wenig Albeniz«), wie aus Messiaens Bezifferung eine Fundamentalbassfortschreitung, harmonische Prolongationen und harmoniefremde Töne abgelesen werden können. Eine analytische Interpretation der Bezifferung der letzten Übung nach denselben Kriterien ermöglicht es dann, für Messiaens eigene Musik typische syntaktische Harmoniefolgen zu definieren und zwischen harmonieeigenen und -fremden Tönen in seiner oft unter Verwendung der ›modes à transpositions limitées‹ komponierten Musik zu unterscheiden. Diese Einblicke in Messiaens Generalbassdenken werden in Analysen von Ausschnitten aus dem ersten und dritten Satz aus La Nativité du Seigneur (1935) sowie des fünften Lieds aus Poèmes pour Mi (1936) vertieft. / In Vingt Leçons d’Harmonie (1939) Olivier Messiaen offers twenty model compositions in three to five voices in harmonic styles ranging from Monteverdi to the present. All compositions are illustrated with figured-bass symbols, which is particularly revealing in the last example because Messiaen does not identify a composer whose music served as model but simply states that the movement is “in a very special style, somewhat approaching Hindu cantilenas,” in other words, written in his own idiom. This essay first demonstrates in the 14th example (“in a very hybrid style: a little Schumann, a little Fauré, a little Albeniz”) how Messiaen’s figured bass illuminates the fundamental-bass progression, harmonic prolongations, and non-harmonic tones. Read in a similar way, the figured-bass labels in the last example are then shown to bring to light syntactic harmonic progressions and distinctions between chordal and non-harmonic tones typical of Messiaen’s own music, which at the time often employed his modes of limited transpositions. These glimpses into Messiaen’s figured-bass thinking are further contextualized in analyses of excerpts from the first and third movement of La Nativité du Seigneur (1935) and of the fifth song from Poèmes pour Mi (1936).