Second language (L2) decoding – the sub-lexical process of mapping the graphemes of an alphabetic writing system onto the phonemes they represent – is argued to underpin various aspects of L2 learning, particularly vocabulary acquisition. Recently, second language acquisition research has shown increased interest in decoding, consistently finding evidence for L1-to-L2 transfer effects on learners’ processing mechanisms and outcomes. Correspondingly, studies conducted in Modern Foreign Language (MFL) classrooms in English secondary schools – an under-researched context – have found that beginner learners of French tend to (a) pronounce L2 words according to English decoding conventions and (b) make poor progress in this aspect of L2 learning. Recent official guidance for MFL teachers has addressed this problem by advocating an explicit focus on decoding, but there is a lack of convincing evidence (both in the MFL context and more widely) that explicit L2 decoding instruction can be effective. The current study therefore trialled two programmes of French decoding instruction for beginner MFL learners, delivered in ten- to fifteen-minute segments over around thirty lessons. Three intact secondary school classes followed a phonics-based approach; three classes from another school followed a programme in which learners were encouraged to derive the pronunciations of French graphemes from ‘source words’ in a memorized poem; and six classes in two other schools received no explicit decoding instruction. Participants (N=186) completed pre- and post-tests of French decoding; a sub-sample (N=15) also completed task-based self-report interviews. The two intervention groups made significantly more progress than the comparison group in terms of the number of graphemes pronounced ‘acceptably’, although the magnitude of the difference between the groups was small. Compared to the comparison group, the two intervention groups also appeared to show different and more extensive patterns of change in their realizations of individual graphemes, even where their pronunciations were still not ‘acceptable’. Finally, self-report data generally revealed little change in participants’ strategic reasoning, either in the intervention or comparison group. Together, these findings suggest that explicit instruction can improve beginner learners’ proficiency in decoding L2 French, but that their progress may follow a longer and more complex trajectory than simply moving directly from ‘incorrect’ to ‘correct’ forms. Further research is required to assess the effects (if any) of a given improvement in decoding proficiency on other language-learning outcomes; and to design and evaluate alternative programmes of instruction.

Essa dissertação objetiva investigar a extensão da influência do sistema de escrita virtual, denominado txtng por Crystal (2009) - sistema utilizado frequentemente na composição de mensagens de texto enviadas via sites de relacionamento e programas de comunicação sincrônica sobre a variedade padrão escrita da língua portuguesa. Para melhor compreender essa relação de contato, buscou-se investigar o contexto de produção, a formação e os recursos comuns desse novo sistema gráfico cujo desenvolvimento foi motivado pela evolução tecnológica. Isso levou à conclusão de que não se trata de uma nova língua, nem somente da variação de um sistema de escrita oficial, mas de um novo sistema gráfico, paralelo ao oficial, repleto de recursos comuns em línguas diversas, que visa à comunicação com agilidade, rapidez e facilidade, acrescido de ludicidade. Partindo-se disso, foi colhido um corpus composto por cem redações escolares de alunos do 8º ano do Ensino Fundamental II da região do Grande ABC, procurando-se levantar dos textos escritos segundo a norma padrão da língua portuguesa recursos comuns na txtng. Constatou-se que a influência do sistema de escrita tecnológico, menos prestigiada, sobre a padrão diz respeito principalmente a transferências estruturais, e não de vocabulário, havendo destaque para a análise de aspectos relacionados à ortografia e a tendências de organização e diagramação do texto no papel. Frisa-se, por fim, que algumas analogias e assimilações que dão origem às formas estudadas são trazidas inicialmente da fala, mas que é o ambiente de comunicação escrita virtual que concretiza de forma marcante as mesmas no modelo e repertório de texto escrito do indivíduo e da comunidade linguística a qual pertence, levando às transferências gramaticais sobre a variedade padrão, dentre as quais a fragmentação se mostra como característica marcante. / This thesis has the purpose of investigating the extent of the influence of the virtual writing system named txtng by Crystal (2009) a system which is frequently used to compose text messages sent via social networks and synchronous communication programs on the standard written modality of Portuguese. In order to better understand this contact relation, an investigation was made of the context of production, the formation and the common resources of this new graphic system, whose development was motivated by the the evolution of technology. This led to the conclusion that it is not a new language, nor a variation of an official writing system, but a new graphic system, parallel to the standard one. This system is filled with resources which are common in several languages, which aim at swift, fast, easy, but also playful communication. For that purpose, a corpus was formed out of a hundred school essays written by 8th year students from the region of the Greater ABC. It was then used to survey the common txtng resources which are found in the texts written according to the standard norm of the Portuguese language. It was found that the influence of the less prestigious technological modality over the standard one is located mainly in structural, not lexical, transfers, with aspects related to orthography and the trends in organization and layout of the text on paper standing out. The thesis highlights the fact that some analogies and assimilations which give rise to the forms under study are initially used in speech, but it is the virtual written communication environment that concretizes them so forcefully in the model and repertoire of the written text of individuals and the linguistic community they belong to, producing interferences on the standard modality, with fragmentation being one of its hallmarks.

Essa dissertação objetiva investigar a extensão da influência do sistema de escrita virtual, denominado txtng por Crystal (2009) - sistema utilizado frequentemente na composição de mensagens de texto enviadas via sites de relacionamento e programas de comunicação sincrônica sobre a variedade padrão escrita da língua portuguesa. Para melhor compreender essa relação de contato, buscou-se investigar o contexto de produção, a formação e os recursos comuns desse novo sistema gráfico cujo desenvolvimento foi motivado pela evolução tecnológica. Isso levou à conclusão de que não se trata de uma nova língua, nem somente da variação de um sistema de escrita oficial, mas de um novo sistema gráfico, paralelo ao oficial, repleto de recursos comuns em línguas diversas, que visa à comunicação com agilidade, rapidez e facilidade, acrescido de ludicidade. Partindo-se disso, foi colhido um corpus composto por cem redações escolares de alunos do 8º ano do Ensino Fundamental II da região do Grande ABC, procurando-se levantar dos textos escritos segundo a norma padrão da língua portuguesa recursos comuns na txtng. Constatou-se que a influência do sistema de escrita tecnológico, menos prestigiada, sobre a padrão diz respeito principalmente a transferências estruturais, e não de vocabulário, havendo destaque para a análise de aspectos relacionados à ortografia e a tendências de organização e diagramação do texto no papel. Frisa-se, por fim, que algumas analogias e assimilações que dão origem às formas estudadas são trazidas inicialmente da fala, mas que é o ambiente de comunicação escrita virtual que concretiza de forma marcante as mesmas no modelo e repertório de texto escrito do indivíduo e da comunidade linguística a qual pertence, levando às transferências gramaticais sobre a variedade padrão, dentre as quais a fragmentação se mostra como característica marcante. / This thesis has the purpose of investigating the extent of the influence of the virtual writing system named txtng by Crystal (2009) a system which is frequently used to compose text messages sent via social networks and synchronous communication programs on the standard written modality of Portuguese. In order to better understand this contact relation, an investigation was made of the context of production, the formation and the common resources of this new graphic system, whose development was motivated by the the evolution of technology. This led to the conclusion that it is not a new language, nor a variation of an official writing system, but a new graphic system, parallel to the standard one. This system is filled with resources which are common in several languages, which aim at swift, fast, easy, but also playful communication. For that purpose, a corpus was formed out of a hundred school essays written by 8th year students from the region of the Greater ABC. It was then used to survey the common txtng resources which are found in the texts written according to the standard norm of the Portuguese language. It was found that the influence of the less prestigious technological modality over the standard one is located mainly in structural, not lexical, transfers, with aspects related to orthography and the trends in organization and layout of the text on paper standing out. The thesis highlights the fact that some analogies and assimilations which give rise to the forms under study are initially used in speech, but it is the virtual written communication environment that concretizes them so forcefully in the model and repertoire of the written text of individuals and the linguistic community they belong to, producing interferences on the standard modality, with fragmentation being one of its hallmarks.

La translittération est la transcription, signe par signe, d’un système d’écriture vers un autre. Relevant à la fois de l’histoire, de la linguistique et de la science des écritures – ou grammatologie –, ce travail vise à dégager les enjeux de la notion récente de translittération, appliquée à une période où elle n’était pas encore formulée ainsi, la Renaissance française. Il délimite les domaines respectifs de la translittération, de la transcription, de la traduction et du saut de code. Cette thèse prend pour point de départ les découvertes récentes sur l’hébreu dans l’humanisme français et met à profit les avancées en archéologie et en sciences cognitives concernant l’histoire de l’alphabet latin et son appréhension par ses utilisateurs. Elle s’appuie sur un corpus d’alphabets, de grammaires et de bibles du XVIe siècle pour mettre en relation les dimensions diachronique et diatopique des systèmes d’écriture. Elle montre que la pratique de la conversion d’écriture s’appuie moins sur les caractéristiques de l’écriture d’origine que sur une extension considérable de l’écriture d’arrivée. / Transliteration is the transcription sign by sign from a writing system to another. Being a matter of history, linguistics and study of writing systems – or grammatology – this work aims at identifying the issues of the quite recent notion of transliteration, as applied to a period when it was not formulated in this way, the French Renaissance. It delineates the respective fields of transliteration, transcription, translation and code-switching. This thesis takes as a starting point the recent findings on Hebrew in the French humanism and makes use of the advances in archeology and in cognitive science regarding the history of the Latin alphabet and its understanding by its users. It relies on a corpus of alphabets, grammars and bibles of the 16th century to link the diachronic and diatopic dimensions of writing systems. It shows that conversion of scripts as a practice relies less on the specific features of the source script than on a considerable extension of the target script.

The study of kana 仮名 development has only begun in the last fifteen years, with much scholarship focused upon discerning either the Heian origins of kana or such later developments as furigana 振り仮名 (phonetic guides) and spelling rules. However, these perspectives have largely overlooked a key moment in Japanese writing history: in 1900, the Meiji government standardized the kana, from hundreds of possible variant graphemes to the forty-six used today, one symbol per sound. From then on, what had commonly been known only as kana were divided into two groups: hiragana 平仮名, the standard set, and hentaigana 変体仮名, the set of all non-standard graphemes. This standardization represented a seismic shift in Japanese writing culture, affecting everything from education to aesthetics, and yet it occurred without any bureaucratic debate—or, it seems, any post-legislation public outcry. This study addresses the apparent incongruity by examining a variety of primary sources for evidence of a pre-Meiji acceptance of a standardized set of graphemes, before the official standardization in 1900. Arguing from this evidence, a convincing case is made that the kana made standard in 1900 had been historically recognized as distinct from all other variants, despite there being no demonstrable difference in their use in context. This project, by closely examining long-neglected sources, sheds new light on the issue of pre-modern Japanese script usage.

This dissertation follows an interdisciplinary approach that weaves practice and theory in the disciplines of visual communication, semiotics, cultural studies, linguistics, and new media art. The research methodology is practice-based located within a historical and contemporary context that allows for artistic experimentation and new knowledge to be generated through reflected creative practice This research proposes a context within which society can develop a transcultural means of communication with the objective of gaining completely unambiguous forms of understanding. This research explores the possibility of an open source scaffold for pictorial language that fosters self-enhancing diversity of production models, communication paths, and interactive communities. The dissertation explores research strategies and visual practice in relationship to a proposed global use of a common system of visual semantic decoding that would allow for visual synthesis by individuals from diverse cultural backgrounds. It is proposed that a shared collective knowledge of signs, symbols, and pictographs, supported by the advancement of future communication and information systems, can lead to a visual communication system that will be universally accepted. There is a historic, on-going and collective consensus on the need for a universal language in the near-future posthuman condition. In answer to this need, this dissertation contextualises and goes on to explore a realised case study of a practice-based solution for a universal pictorial communication system. The system may at times seem ambitious and abstract, however, it aims to include all cultures of the world, seeking to establish a direction that identifies and locates cultural similarities over cultural difference. This practice-based enquiry proposes a direction that should maintain coherence, logic, and veracity in order to develop a pictographic communication system that is a valid representation of the human experience in a posthuman condition.

Orientador: Claudiney Rodrigues Carrasco / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T21:39:07Z (GMT). No. of bitstreams: 1 Bonilha_FabianaFatorGouvea_D.pdf: 1842001 bytes, checksum: cb77c0883c16aaace870af44a4202f16 (MD5) Previous issue date: 2010 / Resumo: O presente trabalho foi motivado pela experiência pessoal de sua autora como musicista com deficiência visual e representa a continuidade da Dissertação de Mestrado intitulada "Leitura musical na ponta dos dedos: caminhos e desafios do ensino da musicografia braille na perspectiva de alunos e professores", defendida no Departamento de Música,do Instituto de Artes da Unicamp. Nele são abordados aspectos relativos ao ensino e à difusão do código musical em braille, enfatizando-se, sobretudo,as concepções subjacentes à Educação Inclusiva. Esta pesquisa possui um enfoque qualitativo, pois visa apreender as percepções dos indivíduos frente aos desafios da alfabetização musical em braille. A coleta de dados foi realizada por meio do acompanhamento e estudo de três casos, nos quais três sujeitos experienciaram o processo de aprendizado da notação musical desenvolvida para os cegos. Além disso, foi realizada uma investigação acerca dos meios utilizados para a transcrição de partituras em Braille, delineando-se as peculiaridades desse processo. Na análise dos dados coletados, discute-se o papel do educador musical, do aluno com deficiência visual e do especialista em aplicações da musicografia braille. Como desdobramentos deste trabalho, há a produção de um áudio-documentário que retrata o desenvolvimento da pesquisa e a implantação de um acervo musical que contém obras em braille. São, por fim, levantadas questões relevantes, que podem resultar em novas investigações sobre o tema e na implementação de iniciativas favoráveis ao ensino e a difusão da musicografia braille. A pesquisa contou com o apoio da FAPESP e com a infraestrutura do Laboratório de Acessibilidade da Biblioteca Central Cesar Lattes da UNICAMP / Abstract: The current study was motivated by the author's life experience being both blind and a musician. It covers different aspects of Braille Music teaching and diffusion, emphasizing the concept of an inclusive education. Using a qualitative approach, three cases were studied and followed, in which three people experienced the process of Braille music learning. The resources available for Braille music transcription were also investigated, and it supported the creation of a Braille music collection. In the data analysis, the roles of music educator, of blind students and of experts are discussed. An audio documentary was developed as a representation of this study. Some questions are also placed in order to favour future investigations / Doutorado / Doutor em Música

Orientador: Claudiney Rodrigues Carrasco / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T06:49:42Z (GMT). No. of bitstreams: 1 Bonilha_FabianaFatorGouvea_M.pdf: 1327152 bytes, checksum: ff750ed1d58c4a62354dbb43f2a65d0d (MD5) Previous issue date: 2006 / Resumo: O presente estudo foi motivado pela experiência pessoal de sua autora,musicista com deficiência visual. Ele aborda aspectos referentes ao ensino da Musicografia Braille, que por sua vez, consiste na notação musical criada por Louis Braille para uso de pessoas cegas. A partir de um enfoque qualitativo, buscou-se investigar a percepção de estudantes de Música com deficiência visual e de seus respectivos professores acerca das condições atuais de aplicação da Musicografia Braille ao campo da educação musical. Por meio de entrevistas e questionários, os sujeitos relataram suas experiências, a partir das quais se pôde estabelecer um panorama sobre o ensino desse sistema de escrita. Para análise dos dados, foi utilizada a técnica de formulação do Discurso do Sujeito Coletivo, que visa apreender os pensamentos e as crenças comuns a uma dada população. Os dados colhidos foram discutidos mediante o stabelecimento de categorias e subcategorias concebidas a partir dos depoimentos. Nesse estudo, buscou-se também investigar e avaliar as ferramentas tecnológicas atualmente utilizadas para a produção de partituras em Braille e, de acordo com essa avaliação, foram criados procedimentos que otimizassem a transcrição de obras musicais. Com base na realização desse estudo, concluiu-se que, na atualidade, há muitos obstáculos que impedem o acesso ao ensino da Musicografia Braille, dos quais decorre a grande desinformação por parte de alunos e professores. Apontou-se para a necessidade de uma maior difusão da notação musical em Braille, tanto através de novas produções acadêmicas, quanto através de iniciativas que facilitem a implantação de acervos musicais transcritos para esse Sistema / Abstract: The current study was motivated by the author's life experience being both blind and a musician. It covers different aspects of Braille Music Writing, which is the musical notation created by Louis Braille for blind musicians. Using a qualitative approach, this study investigates the opinion of blind music students and their teachers regarding the current application of Braille Music Writing in musical education. Subjects described their experiences with Braille Music Writing through interviews and questionnaires, enabling the researcher to establish a panorama of music teaching in Braille. Data was analyzed using the technique of formulation of the General Subject Discourse that aims to extract and summarize thoughts and beliefs of a given population. Subjects' opinions were divided into categories and results were drawn from each category. In his study, the author also investigated current technological tools commonly used to produce Braille music sheets, and created a protocol to optimize musical transcription into Braille. The author concluded that there are many obstacles that currently obstruct the access of blind students and their professors to Braille Music Writing, and therefore generates misinterpretation of its potential and usage. As a consequence, the author emphasizes the need for diffusion of information regarding Braille Music writing both through its use within the university and the establishment of Braille music sheets libraries / Mestrado / Mestre em Música

Whether on paper, on site or mediating between both, means for reading and writing geometry have been central to architecture: the use of compasses and rulers, strings, pins, stakes or plumb-lines enabled the analysis and reproduction of congruent figures on different surfaces since antiquity, and from the renaissance onwards, the consistent planar representation of three-dimensional shapes by means of projective geometry. Tacitly through practice, or explicitly encoded in classical geometry, the operational syntaxes of drawing instruments, real or imaginary, have determined the geometric literacies regulating the production and instruction of architecture. But making marks on the surfaces of paper, stone or the ground has recently given way to the fundamentally different sequential operations of computers as the material basis of architectural inscription. Practices which have dominated architecture since antiquity make little sense in its current reading and writing systems.  This thesis examines technologies of digital inscription in a search for literacies equivalent to those of drawn geometry. It particularly looks at programming as a form of notation in close correspondence with its material basis as a technology, and its effects on architecture. It includes prototypes and experiments, graphics, algorithms and software, together with their descriptions and theoretical analyses. While the artefacts and texts respond to the different forms, styles, interests and objectives specific to the fields and contexts in which they have originated, their fundamental purpose is always to critique and propose ways of writing and reading architecture through programming, the rationale of the research and practice they stem from. / <p>QC 20171129</p>

Although most programming languages naturally share several language features, they are typically implemented as a monolithic product. Language features cannot be plugged and unplugged from a language and reused in another language. Some modular approaches to language construction do exist but composing language features requires a deep understanding of its implementation hampering their use. The choose and pick approach from software product lines provides an easy way to compose a language out of a set of language features. However, current approaches to language product lines are not sufficient enough to cope with the complexity and evolution of real world programming languages. In this work, we propose a general light-weight bottom-up approach to automatically extract a feature model from a set of tagged language components. We applied this approach to the Neverlang language development framework and developed the AiDE tool to guide language developers towards a valid language composition. The approach has been evaluated on a decomposed version of Javascript to highlight the benefits of such a language product line.