Time – intangible tangible –

Dissertação para obtenção do Grau de Mestre em Arte e Ciência do Vidro

Ethno-pragmatique et prosodie. Présentation d'une hypothèse de recherche pluridisciplinaire dans le domaine des sciences du langage et de la culture

L'hypothèse de recherche que nous souhaitons vous présenter ici a pour objet l&s fonctions pragmatiques de Ia prosodie. L'ensemble de notre Projet de Recherche s'organise en effet autour d'une seule (mais fondamentale) hypothèse de travail: c'est dans et par Ia prosodie que pour Vessentiel le langage contribue activement à Ia construction du lien social. La formulation de cette hypothèse resulte des travaux que nous avons menés dans le champ de FAnthropologie des rites, étudiés dans une perspective sémiologique (au sens large), visant à mieux saisir dans quelle mesure et selon quelles modalités, dans et par le rite, Vordre du signe est signe de 1'ordreK Le rite constitue un système complexe de comrpunication symbolique qui contribue en effet activement à definir sur le plan sémantique et à structurer sur le plan dramaturgique les situations d'interaction sociale.

Linear amplification with multiple nonlinear devices

Dissertação para obtenção do Grau de Mestre em Engenharia Electrotécnica e Computadores

Um Bongo and sport: How can a brand communicate through its mascots

A Work Project, presented as part of the requirements for the Award of a Masters Degree in Management from the NOVA – School of Business and Economics

Some Notes on the Reception of Josquin and of Northern Idioms in Portuguese Music and Culture

Although Josquin is by far the best-represented foreign composer in Gonçalo de Baena's Arte novamente inventada pera aprender a tanger (Lisbon, 1540), his music is undeniably under-represented both in the extant sixteenth-century Portuguese manuscripts containing Franco-Flemish polyphony and in volumes imported from the Netherlands such as Coimbra MM 2 and VienNB 1783. Josquin’s reputation made him, along with Ockeghem, a symbol in Portuguese humanistic culture, but up to at least the late 1530s his name seems to have been much better known than his music. Nevertheless, possible allusions to specific works by Josquin can be found in early- and mid-sixteenth-century Portuguese polyphony. By the 1520s, the general technical and stylistic characteristics of his and the following generation of northerners had begun to permeate locally produced polyphony. This eventually replaced the late-fifteenth- and early-sixteenth-century pan-consonant and homorythmic style associated with the Aragonese and the so-called Spanish court repertory.