School of Nursing Class of 1999

Top Row: Felicia Allen, Michael Anderson, Lisa Armstead, Shannon Arterburn, April Ballard, Stacey Bancroft, Veronica Barcelona, Mary Barringer, Jaralee Basso, Courtney Beck, Karina Bouffard, Becky Bradford, Dawn Burdette, Biance Cerroni

Row 2: Surlin Chadha, James Chambers, Matt Brady, Trish Donovan, Patricia Letowrneau, Amy Prouty, Mary Hawk, Kim Yaekle, Joy Caraan, Jill Awai, Kerry Szymke, Lawra Knapp, Trish Therrian, Kelly Collardey, Julie Collins

Row 3: Kimberly Collins, Jill Collison, Michelle Colvia, Erika Cross, Erin Dassance, Amanda DeFever

Row 4: Janis Dinnel, Corey Eisenberg, Lisa Falzetta, Amy Farley, Jennifer Fulcher, Lori George, Pamela George, Royace A. Gibson

Row 5: Pamela Giles, Nicole Grecu, Janet Green, Jessica Grose, Jill Hall, Jill Hiler, Shamika Hinson, Melissa Hitchcock

Row 6: Rebekah Hopper, Steven Thrke, Kevri Johnson, Rebecca Johnson, Shannon Johnson, Jan Lee, Beverly Jones, Ada Sue Hinshaw, Susan Boehm, Nola Pender, Patricia Coleman Burn, Jody Joslyn, Jennifer Kerr, Erin Kingsley, Heather Knudsen, Kristie Krzyzanski

Row 7: Sarah Kyle, Michelle Laughlis, Julie Leibowitz, Erin Maki, Rachel Malone, Amanda Manoni, Kara marsh, Carrie McClung, Kristi Miller, Kristine Moe, Kimberly Morton, Thecla Moschouris, Meg Mountainbear, Michelle Newberg, Aarti parekh, Heather Pawlak

Row 8: Diana Piergentili, Alison Pinta, Gail Prahaska, Jennifer Pruchnik, Kimberly Rendz, Sarah Repp, Eunice Rhiew, Kyle Rinehart, Roni robarge, Audrey Salazar, Dana Schaffner, Sally Scott, Nicole Sell, Mary Jean Siasoco, Deborah Slizewski, Rebecca Snyder

Row 9: Carmen Taylor, Chereena Tennis, Monigue Tett, Lindsay Thibert, Cindy Thompson, Alpa Tolia, Jessie Ulmer, Shannon Waigle, Jennifer Walsh, MacKenzie Waters, Christie Wiseley, Mari Yelorda

A TV DIGITAL DIVULGADA NO BOLETIM ELETRÔNICO DO FNDC: UM ESTUDO SOBRE O COMPORTAMENTO DA MÍDIA NA IMPLANTAÇÃO DA TV DIGITAL NO BRASIL

Implantada no Brasil na década de 50, a TV a mídia de maior abrangência e poder ideológico entre seus públicos encara sua segunda grande transformação: ela deixa de ser analógica e passa a ser digital. Com isso, traz à tona novas possibilidades de recepção e a possível convergência de meios. Nesse contexto, o objetivo deste estudo foi analisar o processo de instalação do Sistema Brasileiro de Televisão Digital Terrestre (SBTVD-t) a partir do clipping on-line do Fórum Nacional pela Democratização da Comunicação (FNDC). A análise desse material teve como foco averiguar se o FNDC foi tendencioso ou não na veiculação de matérias voltadas aos aspectos técnicos da nova tecnologia, em detrimento de seu potencial social. Para tanto, optou-se por uma pesquisa de base quantitativa em que as informações e os dados coletados levaram à constatação de que o FNDC se mostra pouco eficaz como aparato crítico-apreciativo da grande mídia, além de não cumprir alguns de seus objetivos ao reproduzir discursos e ideologias de outros veículos. Da mesma forma, verificou-se ainda que o Governo Federal também fugiu aos objetivos listados nos decretos presidenciais que instituem e dispõem sobre a implantação do SBTVD.(AU)

Colloquial Finnish in Subtitles – a Survey on the British Situation Comedy Peep Show

The use of dialects in audiovisual texts is increasing, but the use of standard language in Finnish subtitles is still the prevalent norm and seldom flouted. This may not be in the best interest of the audience as the way the characters speak – their idiolects – is very important for the atmosphere of the audiovisual text and widely used to give the characters personalities and background. This thesis studies whether the viewing experience could be enhanced by taking the characters’ idiolects into account in subtitling. The study was executed as a survey, and the respondents were recruited from social media and an university of applied sciences. A total of 113 respondents were divided into two groups: the experimental group (n=59) and the control group (n=54). Both groups were shown an excerpt of the British situation comedy Peep Show, but with different subtitles. In the experimental subtitles, three characters were given a written idiolect with a level of colloquial language corresponding to the spoken idiolect of the character, while the control subtitles followed the norm of using standard language. The questionnaire contained background questions, a Likert-scale question and open questions. The quantitative responses were analysed statistically through cross tabulation and Mann–Whitney U test or Kruskal-Wallis test (CI=95%, α=0,05). The results showed a statistically significant difference in keeping track on which of the characters was speaking for the benefit of the experimental subtitles. In the other items no statistically significant difference was found between the groups. In the open questions the use of colloquial language was mostly commented favourably.