Buried voices: Genres and types of female authorship during the Spanish American colonial period (sixteenth to eighteenth centuries)

This dissertation analyzes various types of non-canonical texts authorized by women from a wide spectrum of classes and races in the Spanish colonies. The female voice, generally absent from official colonial documents of the sixteenth, seventeenth and eighteen centuries, left a gap in the complex subject of women's history and social participation. Through the study of personal letters, autobiographies, journals, court documents, inquisitorial transcripts, wills and testaments, edicts, orders, proclamations and posters, that voice is recovered. Thus, the Indigenous, Spaniards and African women and their descendants who lived during this period left their written legacy and proof of participation. Beginning with a thorough history of the native woman's interest in writing, this study focuses on how women of all social levels utilized the few means of writing available at their disposal to display a testimonial, critical and sometimes fictional narrative of their surroundings. ^ This investigation concludes that it is necessary to change the traditional image of the passive women of the colonies, subjected to a patriarchal authority and unable to speak or grow on their own. The documents under study, introduced women who were able to self represent themselves as followers of the tradition while at the same time their writings were denying that very same statement. They passed from the private arena to the public one with discourses that confessed their innermost feelings and concerns, challenged the authority of the Inquisitor or the Governor, exposed their sexual freedom and transvestite narratives, successfully developed stratagems that challenged the official ideology of the oppressive religious environment and established their own authority reaching at last the freedom of their souls. ^

Interpretation and typology Spanish indefinite pronoun uno in three discoursive genres

This study investigates the Spanish indefinite pronoun uno (“one”). After a detailed analysis of its occurrences in authentic language, we find that its interpretation varies depending on the linguistic context. Therefore, we examine which elements of the context - we focus on the broader context, beyond the sentence – have an impact on its interpretation and develop a typology of the indefinite pronoun as to its interpretation. The pronoun may be interpreted as completely generic or specific (referring to the speaker, the listener or a third person). Its interpretation can also be located in an intermediate position between these interpretive extremes.In addition, we compare its use in various discursive genres - spontaneous conversations, academic essays and web forum - which are distinguished by the presence or absence of interactivity and of more or less subjectivity / intersubjectivity. The comparison shows that pronoun use depends on these characteristics.

Petr Eben's oratorio Apologia Sokratus (1967) and ballet Curses and Blessings (1983): An interpretative analysis of the symbolism behind the text settings and musical style

The Czech composer Petr Eben (1927-2007) has written music in all genres except symphony, but he is highly recognized for his organ and choral compositions, which are his preferred genres. His vocal works include choral songs and vocal-instrumental works at a wide range of difficulty levels, from simple pedagogical songs to very advanced and technically challenging compositions. This study examines two of Eben‘s vocal-instrumental compositions. The oratorio Apologia Sokratus (1967) is a three-movement work; its libretto is based on Plato‘s Apology of Socrates. The ballet Curses and Blessings (1983) has a libretto compiled from numerous texts from the thirteenth to the twentieth centuries. The formal design of the ballet is unusual—a three-movement composition where the first is choral, the second is orchestral, and the third combines the previous two played simultaneously. Eben assembled the libretti for both compositions and they both address the contrasting sides of the human soul, evil and good, and the everlasting fight between them. This unity and contrast is the philosophical foundation for both compositions. The dissertation discusses the multileveled meanings behind the text settings and musical style of the oratorio and ballet in analyses focusing on the text, melodic and harmonic construction, and symbolism. Additional brief analyses of other vocal and vocal-instrumental compositions by Eben establish the ground for the examination of the oratorio and ballet and for understanding features of the composer‘s musical style. While the oratorio Apologia Sokratus was discussed in short articles in the 1970s, the ballet Curses and Blessings has never previously been addressed within Eben scholarship. The dissertation examines the significant features of Eben‘s music. His melodic style incorporates influences as diverse as Gregorian chant and folk tunes on the one hand, and modern vocal techniques such as Sprechgesang and vocal aleatoricism on the other. His harmonic language includes bitonality and polytonality, used to augment the tonal legacy of earlier times, together with elements of pitch collections and limited serial procedures as well as various secundal and quartal harmonic sonorities derived from them. His music features the vibrant rhythms of folk music, and incorporates other folk devices like ostinato, repetitive patterns, and improvisation.

Mémoires sur les rutacées, ou, Considérations sur ce groupe de plantes, suivies de l'exposition des genres qui le composent.

From Mémoires of the Muséum d'histoire naturelles, v.12

Agustina Bessa-Luís et la "con-fusion des genres"

Résumé : Cette étude cherche à déconstruire l’idée selon laquelle, dans l’œuvre de l’auteure Agustina Bessa-Luís, une caractérisation forte des personnages féminins conduit nécessairement à un effacement et à une absence de figures masculines fortes, ceci afin de démontrer que, la zone d’ombre dans laquelle ces hommes s’inscrivent, est symptomatique de ce que l’auteure définit comme le « refus d’un destin » au masculin. En effet, en dépeignant des personnages masculins fuyants et « borderline », l’auteure révèle chez ses personnages de papier un trouble dans le genre, lié à une « désorientation » résolument queer.   Mots-clés : Subversion/déconstruction, identités de genre, l’un/l’autre, Dandysme, queer.

Musical genres: beating to the rhythms of different drums

Online music databases have increased significantly as a consequence of the rapid growth of the Internet and digital audio, requiring the development of faster and more efficient tools for music content analysis. Musical genres are widely used to organize music collections. In this paper, the problem of automatic single and multi-label music genre classification is addressed by exploring rhythm-based features obtained from a respective complex network representation. A Markov model is built in order to analyse the temporal sequence of rhythmic notation events. Feature analysis is performed by using two multi-variate statistical approaches: principal components analysis (unsupervised) and linear discriminant analysis (supervised). Similarly, two classifiers are applied in order to identify the category of rhythms: parametric Bayesian classifier under the Gaussian hypothesis (supervised) and agglomerative hierarchical clustering (unsupervised). Qualitative results obtained by using the kappa coefficient and the obtained clusters corroborated the effectiveness of the proposed method.

SAB(IO): A BIOLOGICALLY PLAUSIBLE CONNECTIONIST APPROACH TO AUTOMATIC TEXT SUMMARIZATION

An implementation of a computational tool to generate new summaries from new source texts is presented, by means of the connectionist approach (artificial neural networks). Among other contributions that this work intends to bring to natural language processing research, the use of a more biologically plausible connectionist architecture and training for automatic summarization is emphasized. The choice relies on the expectation that it may bring an increase in computational efficiency when compared to the sa-called biologically implausible algorithms.

EOPAS, the EthnoER online representation of interlinear text

One of the goals of the ARC funded Eresearch project called Sharing access and analytical tools for ethnographic digital media using high speed networks, or simply EthnoER is to take outputs of normal linguistic analytical processes and present them online in a system we have called the EthnoER online presentation and annotation system, or EOPAS.

IMAGE, MAGIC AND IMAGINATION: CHALLENGES TO THE ANTHROPOLOGICAL TEXT

What different forms of engagement do image and text allow the spectator/reader? We know that text and image communicate, and that all communication depends on a relationship between those who communicate. The objective of this text is therefore to understand the new possibilities available to an anthropology of the expression of knowledge that makes use of images, such as photographs and films.