Filmljudets funktioner i krigsfilm : En audio-visuell analys av Apocalypse Now och Saving Private Ryan

I denna uppsats har filmljudet i krigsfilmerna Apocalypse Now och Saving Private Ryan undersökts. Detta har gjorts för att försöka bidra med ökad förståelse för filmljudets användningsområde och funktioner, främst för filmerna i fråga, men även för krigsfilm rent generellt. Filmljud i denna kontext omfattar allt det ljud som finns i film, men utesluter dock all ickediegetisk musik. Båda filmerna har undersökts genom en audio-visuell analys. En sådan analys görs genom att detaljgranska båda filmernas ljud- och bildinnehåll var för sig, för att slutligen undersöka samma filmsekvens som helhet då ljudet och bilden satts ihop igen. Den audio-visuella analysmetod som nyttjats i uppsatsen är Michel Chions metod, Masking. De 30 minuter film som analyserades placerades sedan i olika filmljudzoner, där respektive filmljudzons ljudinnehåll bland annat visade vilka främsta huvudfunktioner somfilmljudet hade i dessa filmer. Dessa funktioner är till för att bibehålla åskådarens fokus och intresse, att skapa närhet till rollkaraktärerna, samt att tillföra en hög känsla av realism och närvaro. Intentionerna med filmljudet verkade vara att flytta åskådaren in i filmens verklighet, att låta åskådaren bli ett med filmen. Att återspegla denna känsla av realism, närvaro, fokus samt intresse, visade sig också vara de intentioner som funnits redan i de båda filmernas förproduktionsstadier. Detta bevisar att de lyckats åstadkomma det de eftersträvat. Men om filmljudet använts på samma sätt eller innehar samma funktioner i krigsfilm rent genrellt går inte att säga.I have for this bachelor’s thesis examined the movie sound of the classic warfare movies Apocalypse Now and Saving Private Ryan. This is an attempt to contribute to a more profound comprehension of the appliance and importance of movie sound. In this context movie sound implies all kinds of sounds within the movies, accept from non-diegetic music. These two movies have been examined by an audio-visual analysis. It's done by auditing the sound and picture content separately, and then combined to audit the same sequence as a whole. Michel Chion, which is the founder of this analysis, calls this method Masking. The sound in this 30 minute sequence was then divided into different zones, where every zone represented a certain main function. These functions are provided to create a stronger connection to the characters, sustain the viewers interest and bring a sense of realism and presence. It seems though the intention with the movies sound is to bring the viewers to the scene in hand, and let it become their reality. To mirror this sense of realism, presence, focus and interest, proves to be the intention from an early stage of the production. This bachelor’s thesis demonstrates a success in their endeavours. Although it can’t confirm whether the movie sound have been utilized in the same manner or if they posess the same functions to warefare movies in general.

La risa en los Chistes de Facebook

People tell jokes in order to amuse and produce laughter. It is possible to represent laughter in the cyberspace discourse by writing how it sounds or by using a representation of a facial expression formed by various combinations of keyboard characters called emoticon. Jokes are appreciated by both men and women in our society but is there any difference between the way they represent laughter in the cyberspace discourse? In this research, we use the qualitative and quantitative method. First, we analyze the mechanism of linguistic construction of five jokes and their types and techniques based on Freud’s theory about this subject. Then we present the reactions produced by the jokes found in a social network and focus in the written representation of the laughter. The results show us that more women than men react to the jokes by writing a comment. The most popular laughter used by both men and women in a Spanish social network is "jajajaja" and the emoticon "XD". We have also found that people use the international laughter "hahahaha" and more women than men use "jejeje" to represent laughter in the same network. Although each individual has a laughter style, the way people represent the laughter graphically in the cyberspace discourse is almost the same between men and women but it differs in the way they use them as a reaction to the type and technique of the joke.

Difficulties for Vietnamese when pronouncing English : Final Consonants

Vietnamese people have many difficulties when pronouncing English. Among those, this paper will firstly deal with the hypothesis “English word-final consonants are not pronounced in a native-like way by Vietnamese speakers”. Theoretical phonological research about final consonants in the Vietnamese language and English has been carried out to characterize the difficulties. Data from Vietnamese informants were collected and analyzed, then synthesized to the most significant problems. Vietnamese effort to pronounce English word-final consonants will be towards omitting, adding schwa or replacing by sounds closer to those existing in their mother-tongue. Results of native speakers’ evaluation of Vietnamese-accented final consonants are also concluded to clarify how comprehensible informants’ pronunciation is. These findings will hopefully be useful for those who are interested in the topic and for further research.

L’évolution du français par rapport à l’histoire et en comparaison avec celle du suédois

Une langue est comme un être vivant. Elle porte les traces des avis, des sentiments, de la joie et des déceptions de nos ancêtres. En même temps elle reflète les toutes tous derniers modes de vie et la manière de penser et d’agir dans la vie quotidienne. Ce sont sa grammaire, ses mots, ses proverbes et ses citations qui en témoignent. Ses sons soulignés par l’intonation et la prosodie nous laissent presque deviner l’esprit de vitalité, de mélancolie ou d’élégance de la langue et de ces locuteurs. Mais est-ce qu’il est possible de trouver aussi les traces des événements historiques et sociaux dans l’évolution d’une langue? Cette question est centrale dans ce mémoire qui suit l’évolution du français à partir du latin parlé dans l’Antiquité et en comparaison avec celle d’autres langues notamment celle du suédois.

Dialekter och röstigenkänning : Ett röstigenkännings-API:s förmåga att uppfatta svenska dialekters kännetecken och röstkombinationer

Allt eftersom utvecklingen går framåt inom applikationer och system så förändras också sättet på vilket vi interagerar med systemet på. Hittills har navigering och användning av applikationer och system mestadels skett med händerna och då genom mus och tangentbord. På senare tid så har navigering via touch-skärmar och rösten blivit allt mer vanligt. Då man ska styra en applikation med hjälp av rösten är det viktigt att vem som helst kan styra applikationen, oavsett vilken dialekt man har. För att kunna se hur korrekt ett röstigenkännings-API (Application Programming Interface) uppfattar svenska dialekter så initierades denna studie med dokumentstudier om dialekters kännetecken och ljudkombinationer. Dessa kännetecken och ljudkombinationer låg till grund för de ord vi valt ut till att testa API:et med. Varje dialekt fick alltså ett ord uppbyggt för att vara extra svårt för API:et att uppfatta när det uttalades av just den aktuella dialekten. Därefter utvecklades en prototyp, närmare bestämt en android-applikation som fungerade som ett verktyg i datainsamlingen. Då arbetet innehåller en prototyp och en undersökning så valdes Design and Creation Research som forskningsstrategi med datainsamlingsmetoderna dokumentstudier och observationer för att få önskat resultat. Data samlades in via observationer med prototypen som hjälpmedel och med hjälp av dokumentstudier. Det empiriska data som registrerats via observationerna och med hjälp av applikationen påvisade att vissa dialekter var lättare för API:et att uppfatta korrekt. I vissa fall var resultaten väntade då vissa ord uppbyggda av ljudkombinationer i enlighet med teorin skulle uttalas väldigt speciellt av en viss dialekt. Ibland blev det väldigt låga resultat på just dessa ord men i andra fall förvånansvärt höga. Slutsatsen vi drog av detta var att de ord vi valt ut med en baktanke om att de skulle få låga resultat för den speciella dialekten endast visade sig stämma vid två tillfällen. Det var istället det ord innehållande sje- och tje-ljud som enligt teorin var gemensamma kännetecken för alla dialekter som fick lägst resultat överlag.

The priority of temporal aspects in L2-Swedish prosody : Studies in perception and production

Foreign accent can be everything from hardly detectable to rendering the second language speech unintelligible. It is assumed that certain aspects of a specific target language contribute more to making the foreign accented speech intelligible and listener friendly, than others. The present thesis examines a teaching strategy for Swedish pronunciation in second language education. The teaching strategy “Basic prosody” or BP, gives priority to temporal aspects of Swedish prosody, which means the temporal phonological contrasts word stress and quantity, as well as the durational realizations of these contrasts. BP does not prescribe any specific tonal realizations. This standpoint is based on the great regional variety in realization and distribution of Swedish word accents. The teaching strategy consists virtually of three directives: · Stress the proper word in the sentence. · Stress proper syllables in stressed words and make them longer. · Lengthen the proper segment – vowel or subsequent consonant – in the stressed syllable. These directives reflect the view that all phonological length is stress-induced, and that vowel length and consonant length are equally important as learning goals. BP is examined in the light of existing findings in the field of second language pronunciation and with respect to the phonetic correlates of Swedish stress and quantity. Five studies examine the relation between segment durations and the categorization made by native Swedish listeners. The results indicate that the postvocalic consonant duration contributes to quantity categorization as well as giving the proper duration to stressed syllables. Furthermore, native Swedish speakers are shown to apply the complementary /V: C/ - /VC:/ pattern also when speaking English and German, by lengthening postvocalic consonants. The correctness of the priority is not directly addressed but important aspects of BP are supported by earlier findings as well as the results from the present studies.

What affects recognition most – wrong wordstress or wrong word accent?

In an attempt to find out which of the two Swedish prosodic contrasts of 1) wordstress pattern and 2) tonal word accent category has the greatest communicative weight, a lexical decision experiment was conducted: in one part word stress pattern was changed from trochaic to iambic, and in the other part trochaic accentII words were changed to accent I.Native Swedish listeners were asked to decide whether the distorted words werereal words or ‘non-words’. A clear tendency is that listeners preferred to give more‘non-word’ responses when the stress pattern was shifted, compared to when wordaccent category was shifted. This could have implications for priority of phonological features when teaching Swedish as a second language.

The relative perceptual weight of two Swedish prosodic contrasts

Abstract. In addition to 9 vowel and 18 consonant phonemes, Swedish has three prosodic phonemic contrasts: word stress, quantity and tonal word accent. There are also examples of distinctive phrase or sentence stress, where a verb can be followed by either an unstressed preposition or a stressed particle. This study focuses on word level and more specifically on word stress and tonal word accent in disyllabic words. When making curriculums for second language learners, teachers are helped by knowing which phonetic or phonological features are more or less crucial for the intelligibility of speech and there are some structural and anecdotal evidence that word stress should play a more important role for intelligibility of Swedish, than the tonal word accent. The Swedish word stress is about prominence contrasts between syllables, mainly signaled by syllable duration, while the tonal word accent is signaled mainly by pitch contour. The word stress contrast, as in armen [´arːmən] ‘the arm’ - armén [ar´meːn] ‘the army’, the first word trochaic and the second iambic, is present in all regional varieties of Swedish, and realized with roughly the same acoustic cues, while the tonal word accent, as in anden [´anːdən] ‘the duck’ - anden [`anːdən] ‘the spirit’ is absent in some dialects (as well as in singing), and also signaled with a variety of tonal patterns depending on region. The present study aims at comparing the respective perceptual weight of the two mentioned contrasts. Two lexical decision tests were carried out where in total 34 native Swedish listeners should decide whether a stimulus was a real word or a non-word. Real words of all mentioned categories were mixed with nonsense words and words that were mispronounced with opposite stress pattern or opposite tonal word accent category. The results show that distorted word stress caused more non-word judgments and more loss, than distorted word accent. Our conclusion is that intelligibility of Swedish is more sensitive to distorted word stress pattern than to distorted tonal word accent pattern. This is in compliance with the structural arguments presented above, and also with our own intuition.

A Call to Arms

This month I’m using my column to issue a call to arms. No, it isn’t a call to arms for war, though it is going to be battle. It is a call to professional librarians who are interested in their jobs lasting more than a few more years. That sounds a bit hysterical but I don’t mean for it to. Yet is it hyperbolic? I don’t think so. We need to rethink, recast, redefine, and refresh our professional métier. I think the last twenty-four months make it imperative that we do so now

Ototoxicidade da cisplatina em crianças e adolescentes com câncer

Introdução: A cisplatina tem sido associada à perda auditiva. O local da toxicidade são as células ciliadas externas da cóclea. Geralmente, o dano é irreversível, bilateral e a perda auditiva se caracteriza por ser neurossensorial em freqüências altas. Este estudo foi realizado para avaliar a função auditiva de crianças e adolescentes com câncer tratados com cisplatina. Procedimentos: Vinte e três pacientes sobreviventes do tratamento de câncer com cisplatina no Serviço de Oncologia Pediátrica do HCPA no período de 1991-2004 realizaram audiometria tonal liminar, emissões otoacústicas evocadas transitórias (TEOA) e emissões otoacústicas evocadas por produto de distorção (DPEOA). Resultados: 61% dos pacientes tinham o diagnóstico de osteossarcoma, 17% tumores de células germinativas e 22% tumor hepático. A mediana da idade dos pacientes foi de 12,3 anos e a mediana da dose total de cisplatina recebida foi 406mg/m2. A perda auditiva observada na audiometria foi moderada a severa, bilateral e em altas freqüências. As TEOA e as DPEOA detectaram 22% e 71% de alterações cocleares, respectivamente. Foi observada alta concordância entre os achados da audiometria e da DPEOA (P=0.01). Não houve influencia de sexo, diagnóstico e uso de outras drogas ototóxicas concomitantemente à cisplatina na perda auditiva. Observou-se uma tendência de aumento da perda auditiva para pacientes mais jovens e para aqueles com maior dose cumulativa de cisplatina. Conclusão: Este estudo fornece evidências do dano auditivo causado pela cisplatina e salienta a importância de monitorar a função auditiva em crianças e adolescentes submetidos a tratamento antineoplásico com cisplatina, especialmente em crianças pequenas, que apresentam um risco maior de perda auditiva, capaz de comprometer o desenvolvimento da linguagem oral e escrita.

Uma análise retórica da Fuga Opus 87 nº 4 de Dmitri Shostakovich

O presente trabalho investiga a retórica da Fuga opus 87 n° 4 de Dmitri Shostakovich. Para atingir tal objetivo, foram utilizados os trabalhos de Lester (1986, 2001), Harrison (1990) e Roberts (2004). Neste último, estão os princípios metodológicos utilizados para a realização desta pesquisa, os quais consistem, basicamente, no reconhecimento dos elementos identificadores [notable properties], termo utilizado por Roberts para denominar propriedades distintas de uma fuga. Roberts (2004) aplicou seu método para reconhecer a natureza, retórica ou literal de quatro fugas de Bach para órgão (BWV 533, 545, 547 e 578). Na fuga dupla n° 4, em Mi menor, de Shostakovich foram encontrados cinco elementos identificadores: graus da escala em suspensão, ambigüidade tonal/modal, relação entre Integrantes, presença do terceiro contra-sujeito para um dos sujeitos e seções paralelas intensificadas. No discurso, a presença e inter-relações mútuas dos elementos identificadores estabelecem conflitos, os quais são resolvidos revelando a natureza retórica da composição.

Texturas de imagens utilizando conceitos de morfologia matemática

A textura é um atributo ainda pouco utilizado no reconhecimento automático de cenas naturais em sensoriamento remoto, já que ela advém da sensação visual causada pelas variações tonais existentes em uma determinada região da imagem, tornando difícil a sua quantificação. A morfologia matemática, através de operações como erosão, dilatação e abertura, permite decompor uma imagem em elementos fundamentais, as primitivas texturais. As primitivas texturais apresentam diversas dimensões, sendo possível associar um conjunto de primitivas com dimensões semelhantes, em uma determinada classe textural. O processo de classificação textural quantifica as primitivas texturais, extrai as distribuições das dimensões das mesmas e separa as diferentes distribuições por meio de um classificador de máxima-verossimilhança gaussiana. O resultado final é uma imagem temática na qual cada tema representa uma das texturas existentes na imagem original.

Seis Pequenos Quadros (1981) de Bruno Kiefer : relações intervalares e outros parâmetros a partir da teoria dos conjuntos e gestos musicais

Este trabalho oferece um estudo das configurações intervalares contidas no grupo de peças para piano intitulado Seis Pequenos Quadros (1981) de Bruno Kiefer (1923- 1987). A análise toma como referencial teórico a obra Introduction to Post-Tonal Theory de Joseph Straus, a qual elucida a teoria dos conjuntos. Objetivou-se encontrar padrões que fornecem coerência ao discurso das peças isoladamente e como um todo. Para tanto, além da análise de conjuntos, fez-se necessário o levantamento de características estruturais, temporais e de textura. Todos estes parâmetros, os quais contribuem para um equilíbrio entre unidade e diversidade no discurso desta coleção de peças, foram investigados a partir dos gestos musicais característicos do estilo de Kiefer.

The BRICS: some historical experiences, growth challenges and opportunities

The acronym BRICS was a fad among the media and global investors. Now, the acronym sounds passé. However, the group of countries remains important, from both political and economic reasons. They have a large aggregate size, 28% of the global GDP and 42% of the world’s population, high growth potential due to the current significant misallocation of resources and relatively low stock of human capital, structural transformation is in progress and one of them, China, is taking steps to become a global power and a challenger to the US dominance. This paper provides a brief overview of the five economies, Brazil, Russia, India, China and South Africa. We focus on some aspects of their history, the Chinese initiatives in international finance and geopolitical strategic moves, their growth experience and structural transformation over the last 35 years, trade and investment integration into the global economy and among themselves, the growth challenges faced by their economies and the potential gains to the Brazilian economy from a stronger integration with the other BRICS. In association with its efforts to be a global power, China aims to become a major player in global finance and to achieve the status of global currency for the renminbi, which would be the first currency of an emerging economy to attain such position. Despite the similarities, the BRICS encompass very diverse economies. In the recent decades, China and India showed stellar growth rates. On the other hand, Brazil, Russia and South Africa have expanded just in line with global output growth with the Russian economy exhibiting high volatility. China is by far the largest economy, and South Africa the smallest, the only BRICS economy with a GDP lower than US$ 1 trillion. Russia abandoned communism almost 25 years ago, but reversed many of the privatizations of 90’s. China is still ruled by communism, but has a vibrant private sector and recently has officially declared market forces to play a dominant role in its economy. Brazil, Russia and South Africa are global natural resources powerhouses and commodity exporters while China and India are large commodity importers. Brazil is relatively closed to international trade of goods and services, in marked contrast to the other four economies. Brazil, India and South Africa are dependent on external capital flows whereas China and Russia are capital exporters. India and South Africa have younger populations and a large portion living below the poverty line. Despite its extraordinary growth experience that lifted many millions from poverty, China still has 28% of its population classified as poor. Russia and China have much older populations and one of their challenges is to deal with the effects of a declining labor force in the near future. India, China and South Africa face a long way to urbanization, while Brazil and Russia are already urbanized countries. China is an industrial economy but its primary sector still absorbs a large pool of workers. India is not, but the primary sector employs also a large share of the labor force. China’s aggregate demand structure is biased towards investment that has been driving its expansion. Brazil and South Africa have an aggregate demand structure similar to the developed economies, with private consumption accounting for approximately 70%. The same similarity applies to the supply side, as in both economies the share of services nears 70%. The development problem is a productivity problem, so microeconomic reforms are badly needed to foster long-term growth of the BRICS economies since they have lost steam due a variety of factors, but fundamentally due to slower total factor productivity growth. China and India are implementing ambitious reform programs, while Brazil is dealing with macroeconomic disequilibria. Russia and South Africa remain mute about structural reforms. There are some potential benefits to Brazil to be extracted from a greater economic integration with the BRICS, particularly in natural resources intensive industries and services. Necessary conditions to the materialization of those gains are the removal of the several sources of resource misallocation and strong investment in human capital.