Mídia e produção de sentido: a reconfiguração da indústria da música e as estratégias discursivas da associação cultural DoSol

This dissertation aims to analyse discursive strategies from Dosol in order to understand the present elements to keep its audience and the marketing activities. Based on French line of discourse analysis We look into the articles posted on its website at http://www.dosol.com.br within 2010 and We foment dialogues among music, media and communications researchers. Participant observation is slightly used on the critical perception and views of researched object to confront situations and step up, with theorists, the major part of closing remarks. The obtained results indicate a website speech paved on afirmative policies and social capital, trying to keep/seduce its audience with the efect of the intended credibility meaning. The economic factor wanders the speech so often that the speaker assumes a entrepreneur/cultural producer. As a niche market, Dosol assumes a main role in music industry for releasing the regional and local cultural production. On the other hand, it is noticeable that its sustainability and media visibility, as it is seen today, depends on the laws tor promote Culture, what denotes a lack of a regional cultural policies to medium and long term at Rio Grande do Norte

Organização prosódica e interpretação de canções: a frase entonacional em quatro diferentes interpretações de Na batucada da vida

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Balizas suprassegmentais para a adaptação do reggae cantado em São Luís

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Methods of Analysis for Peritubular Capillaritis and Glomerulitis in Acute Renal Rejection: Capillaritis in Management of Routine Diagnosis

Glomerulitis and peritubular capillaritis have been recognized as important lesions in acute renal rejection (AR). We studied glomerulitis and peritubular capillaritis in AR by 2 methods and investigated associations with C4d, type/grade of AR, and allograft survival time. Glomerulitis was measured according to Banff scores (glomerulitis by Banff Method [gBM]) and by counting the number of intraglomerular inflammatory cells (glomerulitis by Quantitative Method [gQM]). Capillaritis was classified by the Banff scoring system (peritubular capillaritis by Banff Method [ptcBM]) and by counting the number of cells in peritubular capillaries in 10 high-power fields (hpf; peritubular capillaritis by Quantitative Method [ptcQM]). These quantitative analyses were performed in an attempt to improve our understanding of the role played by glomerulitis and capillaritis in AR. The g0 + g1 group (gBM) associated with negative C4d (P = .02). In peritubular capillaritis, a larger number of cells per 10 hpf in peritubular capillaries (ptcQM) were observed in positive C4d cases (P = .03). The group g2 + g3 (gBM) correlated with graft loss (P = .01). Peritubular capillaritis was not significantly related to graft survival time. Our study showed that the Banff scoring system is the best method to study glomerulitis and observed that the evaluation of capillaritis in routine biopsies is difficult and additional studies are required for a better understanding of its meaning in AR biopsy specimens of renal allografts.

The perspective of the teaching of arts projected by H. Gardner and the National Syllabus Parameters - (arts) of elementary school

In a concise way, the article reports part of the Master of Arts dissertation in Music entitled The meaning of the teaching of Arts in H. Gardner's perspective, presented in the IAUNESP [Arts Institute-State of Sao Paulo University] in 2008. Some considerations on the Statutory Law n. 11.769/08 were added to the original text. The produced research had an exploratory nature and a theoretical mark. Some texts by Howard Gardner, by the psychologist Eliane Leao, as well as the text of the National Syllabus Parameters-Art, from the Department of Elementary Education, served as a foundation for this article. The intended aim was to demonstrate to what extent the pedagogical proposition of the Arts Education projected by H. Gardner is similar to the one proposed by the National Syllabus Parameters, and which would the benefits be in this age group of an artistic sensitizing work for the development of the individual's personality.

The symbology of the sea in Lygia Bojunga Nunes's work: a reflection on utopian and dystopian framing

The ambivalent image of the sea is recurrent in Bojunga Nunes’s work. It receives a lot of symbolic meanings in her production, being sometimes a positive and sometimes a negative element. Thus, the sea is used in a utopic way, as a place for pleasure and leisure, and in a dystopic way, as scenery of a rite of passage, which includes the pain and suffering, part of the rite of passage that characterizes the bildungsromans. So, if in some texts the sea assumes a utopic character, being a place of snuggle, security, the ideal to reach, in others it is represented as dystopic, a place of distress, asphyxia and death. In this text we will study the hypothesis that, even in its dark symbolic meaning, in the author’s work the sea is an element of reflection and revelation. Thereby, it assumes metaphorically a sense of magnification of the reader’s expectative, being an element of emancipation. The objective of this text is to present a reflection on the sea’s symbolism on the mentioned texts and its importance for the reader’s formation.

Bach-Busoni Chaconne: A Piano Transcription Analysis

In 1893 Ferruccio Busoni transcribed, for the piano, the famous Bach Chaconne for violin solo from the Partita No.2 in D minor. Numerous transcriptions of this piece for different various instruments exist; however Busoni's transcription stands above all others. The purpose of this study was to analyze what the famous, twentieth-century pianist did when he transcribed Bach's Chaconne. What information exists on the topic comes primarily from pianists who dared to learn this exceptionally difficult, beautiful composition. Busoni's accomplishments lie in the new concept, a conceptual transcription, which has two roots: understanding how, historically, we are connected to the music, and how once genres have a special meaning in the twentieth-century. Every generation of musicians brings their own specific point of view and interpretation. Busoni lived on the border of the two centuries and, in his transcription, reveled in several issues overlooked by the previous generation. With his keen understanding of the piece, Busoni highlighted many different genres present in the music, thus allowing recognition of the last movement of the Partita No. 2 in D minor as a Requiem for Bach's wife. By underscoring the genres, Busoni used them as strata. The idea of strata comes from the aesthetics of “play,” and from a different approach to the quality of sound on piano originally intended for a high string instrument. Busoni's arrangement of the texture added both orchestral quality and stereophonic perception. The strata add to a certain reading of Bach's original. Busoni promoted a dramatic approach opening the possibility of reading the chaconne as a multi-layered form. Through Busoni', we see the possibility not only of a tripartite, variation form, but also a composition, with the elements of a concerto, and a sonata. Who could imagine, that a composition written by a young composer at the fin de siecle, intended for practical use by pianists, would subtly influence so many contemporaries and generations, that they will find his findings and music inspiring. Adviser: Dr. Mark K. Clinton

Relationships between plant diversity and environmental heterogeneity in rupicolous grasslands on gypsum. The case study of Alysso-Sedion albi (Habitat 6110).

Plant communities on weathered rock and outcrops are characterized by high values in species richness (Dengler 2006) and often persist on small and fragmented surfaces. Yet very few studies have examined the relationships between heterogeneity and plant diversity at small scales, in particular in poor-nutrient and low productive environment (Shmida and Wilson 1985, Lundholm 2003). In order to assess these relationships both in space and time in relationship, two different approaches were employed in the present study, in two gypsum outcrops of Northern Apennine. Diachronic and synchronic samplings from April 2012 to March 2013 were performed. A 50x50 cm plot was used in both samplings such as the sampling unit base. The diachronic survey aims to investigate seasonal patterning of plant diversity by the use of images analysis techniques integrated with field data and considering also seasonal climatic trend, the substrate quality and its variation in time. The purpose of the further, synchronic sampling was to describe plant diversity pattern as a function of the environmental heterogeneity meaning in substrate typologies, soil depth and topographic features. Results showed that responses of diversity pattern depend both on the resources availability, environmental heterogeneity and the manner in which the different taxonomic group access to them during the year. Species richness and Shannon diversity were positively affected by increasing in substrate heterogeneity. Furthermore a good turnover in seasonal species occurrence was detected. This vegetation may be described by the coexistence of three groups of species which created a gradient from early colonization stages, characterized by greater slope and predominance of bare rock, gradually to situation of more developed soil.

Fremder Bruder: die Teilungssituation zwischen Süd- und Nordkorea im Spiegel des koreanischen Films seit dem Korea-Krieg

Als charakteristische Besonderheit in der koreanischen Geschichte besitzt der Korea-Krieg eine wichtige Position, so dass er bisher die gesamte Landesstruktur und -geschichte stark beeinflusst hat. Das gilt auch für die koreanische Filmgeschichte und nach dem Korea-Krieg im Jahr 1950 wurde in den Filmen das Thema „Landesteilung“ häufig aufgegriffen und bis heute oft behandelt.rnIn dieser Untersuchung werden solche Filme als Konflikt-Filme bezeichnet, die die Spaltung des Landes und die Beziehungen zu Nordkorea thematisieren, und insgesamt 60 Beispielfilme aus verschiedenen Filmgenres seit dem Ende des Korea-Kriegs bis zur Gegenwart analysiert und unter dem Aspekt beleuchtet, wie diese politischen und gesellschaftlichen Themen über das Verhältnis zwischen Süd- und Nordkorea repräsentiert werden. Mit Hilfe von Beispielfilmen wird versucht, herauszufinden, wie stark und unterschiedlich der Bruderkrieg und die davon abgeleitete Teilung des Landes in südkoreanischen Filmen im Wandel der Geschichte widergespiegelt werden. rnDiese Arbeit setzt sich zuerst mit Kracauers Spiegeltheorie, einer filmsoziologischen Theorie, und der Genretheorie als wichtigen theoretischen Überlegungen auseinander, um zu verdeutlichen, in welchem Bezug Konfliktfilme über die südkoreanische Gesellschaft angesehen werden und welche Rolle sie als Spiegel der Gesellschaft spielen, um gesellschaftliche Stimmungen, Bewusstseinsformen und Wünsche zu verdeutlichen. Dabei werden die kulturellen und gesellschaftlichen sowie filmwirtschaftlichen Aspekte berücksichtigt. rnDie vorliegende Arbeit bietet einen umfangreichen Überblick über den Konfliktfilm im südkoreanischen Kino seit dem Korea-Krieg. Die koreanischen Konflikt-Filme als regional-spezifische Filmkategorie stehen im engen Zusammenhang mit dieser politischen Situation und die Darstellung sowie Thematisierung Nordkoreas werden jeweils durch die verschiedenen Generationen der Filmemacher unterschiedlich präsentiert. Im südkoreanischen Diskurs bilden sie ein eigenes Genre, das alle klassischen und gemischten Filmgenres integriert; im Wandel der Geschichte haben sie sich dabei stetig weiterentwickelt, in engem Zusammenhang mit der Politik der verschiedenen Präsidenten Südkoreas gegenüber Nordkorea. rn

An ERP study of major-minor classification in melodies

COMPOSERS COMMONLY USE MAJOR OR MINOR SCALES to create different moods in music.Nonmusicians show poor discrimination and classification of this musical dimension; however, they can perform these tasks if the decision is phrased as happy vs. sad.We created pairs of melodies identical except for mode; the first major or minor third or sixth was the critical note that distinguished major from minor mode. Musicians and nonmusicians judged each melody as major vs. minor or happy vs. sad.We collected ERP waveforms, triggered to the onset of the critical note. Musicians showed a late positive component (P3) to the critical note only for the minor melodies, and in both tasks.Nonmusicians could adequately classify the melodies as happy or sad but showed little evidence of processing the critical information. Major appears to be the default mode in music, and musicians and nonmusicians apparently process mode differently.

Perception of mode, rhythm, and contour in unfamiliar melodies: Effects of age and experience

We explored the ability of older (60-80 years old) and younger (18-23 years old) musicians and nonmusicians to judge the similarity of transposed melodies varying on rhythm, mode, and/or contour (Experiment 1) and to discriminate among melodies differing only in rhythm, mode, or contour (Experiment 2). Similarity ratings did not vary greatly among groups, with tunes differing only by mode being rated as most similar. In the same/different discrimination task, musicians performed better than nonmusicians, but we found no age differences. We also found that discrimination of major from minor tunes was difficult for everyone, even for musicians. Mode is apparently a subtle dimension in music, despite its deliberate use in composition and despite people's ability to label minor as "sad" and major as "happy."

Not in the Legends

In writing “Not in the Legends”, one of the images and concepts which constantly returned was that of pilgrimage. I began to write these poems while studying abroad in London, after having passed the previous semester in France and travelling around Europe. There was something in the repetition of sightseeing— walking six miles in Luxembourg to see the grave of General Patton, taking photographs of the apartment where Sylvia Plath ended her life, bowing before the bones of saints, searching through Père Lachaise for the grave of Théodore Gericault— which struck me as numinous and morbid. At the same time, I came to love living abroad and I grew discontent with both remaining and returning. I wanted the opportunity to live everywhere all the time and not have to choose between home and away. Returning from abroad, I turned my attention to the landscape of my native country. I found in the New England pilgrims a narrative of people who had left their home in search of growth and freedom. In these journeys I began to appreciate the significance of place and tried to understand what it meant to move from one place to another, how one chose a home, and why people searched for meaning in specific locations. The processes of moving from student to worker and from childhood to adulthood have weighed on me. I began to see these transitions towards maturity as travels to a different land. Memory and nostalgia are their own types of pilgrimage in their attempts to return to lost places, as is the reading of literature. These pilgrimages, real and metaphorical, form the thematic core of the collection. I read the work of many poets who came before me, returning to the places where the Canon was forged. Those poets have a large presence in the work I produced. I wondered how I, as a young poet, could earn my own place in the tradition and sought models in much the same way a painter studies the brushstrokes of a master. In the process, I have tried to uncover what it means to be a poet. Is it something like being a saint? Is it something like being a colonist? Or is to be the one who goes in search of saints and colonists? In trying to measure my own life and work based on the precedent, I have questioned what role era and generation have on the formation of identity. I focused my reading heavily on the early years of English poetry, trying to find the essence of the time when the language first achieved the transcendence of verse. In following the development of English poetry through Coleridge, John Berryman, and Allison Titus, I have explored the progression of those basic virtues in changing contexts. Those bearings, applied to my modern context, helped to shape the poetry I produced. Many of the poems in “Not in the Legends” are based on my own personal experience. In my recollections I have tried to interrogate nostalgia rather than falling into mere reminiscence. Rather than allowing myself poems of love and longing, I have tried to find the meaning of those emotions. A dominant conflict exists between adventure and comfort which mirrors the central engagement with the nature of being “here” or “there”. It is found in scenes of domesticity and wilderness as I attempt to understand my own simultaneous desire for both. For example, in “Canned Mangoes…” the intrusion of nature, even in a context as innocuous as a poem by Sir Walter Raleigh, unravels ordinary comforts of the domestic sphere. The character of “The Boy” from Samuel Beckett’s Waiting for Godot proved such an interesting subject for me because he is one who can transcend the normal boundaries of time and place. The title suggests connections to both place and time. “Legends” features the dual meaning of both myths and the keys to maps. To propose something “Not in the Legends” is to find something which has no precedent in our histories and our geographies, something beyond our field of knowledge and wholly new. One possible interpretation I devised was that each new generation lives a novel existence, the future being the true locus of that which is beyond our understanding. The title comes from Keats’ “Hyperion, a Fragment”, and details the aftermath of the Titanomachy. The Titans, having fallen to the Olympians, are a representation of the passing of one generation for the next. Their dejection is expressed by Saturn, who laments: Not in my own sad breast, Which is its own great judge and searcher out, Can I find reason why ye should be thus: Not in the legends of the first of days… (129-132) The emotions of the conquered Titans are unique and without antecedent. They are experiencing feelings which surpass all others in history. In this, they are the equivalent of the poet who feels that his or her own sufferings are special. In contrast are Whitman’s lines from “Song of Myself” which serve as an epigraph to this collection. He contends for a sense of continuity across time, a realization that youth, age, pleasure, and suffering have always existed and will always exist. Whitman finds consolation in this unity, accepting that kinship with past generations is more important that his own individuality. These opposing views offer two methods of presenting the self in history. The instinct of poetry suggests election. The poet writes because he feels his experiences are special, or because he believes he can serve as a synecdoche for everyone. I have fought this instinct by trying to contextualize myself in history. These poems serve as an attempt at prosopography with my own narrative a piece of the whole. Because the earth abides forever, our new stories get printed over the locations of the old and every place becomes a palimpsest of lives and acts. In this collection I have tried to untangle some of those layers, especially my own, to better understand the sprawling legend of history.

Direction finding in the presence of a more realistic environment model

Direction-of-arrival (DOA) estimation is susceptible to errors introduced by the presence of real-ground and resonant size scatterers in the vicinity of the antenna array. To compensate for these errors pre-calibration and auto-calibration techniques are presented. The effects of real-ground constituent parameters on the mutual coupling (MC) of wire type antenna arrays for DOA estimation are investigated. This is accomplished by pre-calibration of the antenna array over the real-ground using the finite element method (FEM). The mutual impedance matrix is pre-estimated and used to remove the perturbations in the received terminal voltage. The unperturbed terminal voltage is incorporated in MUSIC algorithm to estimate DOAs. First, MC of quarter wave monopole antenna arrays is investigated. This work augments an existing MC compensation technique for ground-based antennas and proposes reduction in MC for antennas over finite ground as compared to the perfect ground. A factor of 4 decrease in both the real and imaginary parts of the MC is observed when considering a poor ground versus a perfectly conducting one for quarter wave monopoles in the receiving mode. A simulated result to show the compensation of errors direction of arrival (DOA) estimation with actual realization of the environment is also presented. Secondly, investigations for the effects on received MC of λ/2 dipole arrays placed near real-earth are carried out. As a rule of thumb, estimation of mutual coupling can be divided in two regions of antenna height that is very near ground 0

Passives without actives: evidence from verbless complement clauses in Spanish

This paper proposes a constructionist analysis à la Goldberg (1995, 2003, 2006) of passive verbless configurations in Spanish lacking a felicitous active counterpart.Under the paradigmatic – rather than syntagmatic – view of passives invoked in this paper, configurations of the type in (1) above, attested with a number of verba cogitandi et dicendi, are handled as instances of the Impersonal Subjective-Transitive construction, whose general skeletal meaning is X (NP1) attributed Y (XPCOMP) by Z (NP2) in a direct, categorical way. Moreover, the analysis proposed here also provides a satisfactory account of the distribution of grammatical subjects and the XPCOMPs, while also capturing the commonalities with “regular” passives (i.e. those with a felicitous active counterpart). In addition, Spanish passive verbless complement configurations with se dice (‘is said’) are shown to illustrate a three-point continuum consisting of (i) non-grammaticalized configurations with an active counterpart, (ii) non-grammaticalized configurations without an active counterpart, and (iii) grammaticalized configurations without an active counterpart. From a synchronic point of view, the structural and semantico-pragmatic properties exhibited by the lower-level lo que se dice XPFOCUS construction, involving a focusing/emphasizer subjunct function (e.g. verdaderamente ‘really’) as well as a reformulatory connective use (e.g. o sea ‘that is’, en otras palabras ‘in other words’) appear to point to an early process of grammaticalization, exhibiting decategorialization as well as generalization of meaning in conjunction with a prominent increase in pragmatic function and subjectification (cf. Traugott 1988, 1995a, 1995b, 2003).

Plurilingual Interpretation in WTO Panel and Appellate Body Reports

This article analyzes the extent to which the Appellate Body and WTO panels compare the authentic texts in their examination of the WTO Agreements and the extent to which the parties themselves do so in their arguments. The texts of the WTO Agreements are authentic in English, French and Spanish. Article 33 of the Vienna Convention on the Law of Treaties governs the interpretation of treaties authenticated in two or more languages. WTO practice diverges significantly from the rules set out in Article 33 and the travaux préparatoires of the International Law Commission. The terms of a plurilingual treaty are presumed to have the same meaning in each authentic text, which means that a treaty interpreter need not compare the authentic texts as a routine matter as a matter of law. Nevertheless, routine comparison of authentic texts would be good practice in the WTO context, since there are several discrepancies that could affect the interpretation of WTO provisions.