En torno al tratamiento lexicográfico de la fraseología humorística

Este trabajo centra su atención en la representación lexicográfica de la fraseología humorística. El humor, aun siendo un fenómeno eminentemente pragmático, forma parte del significado de algunas unidades fraseológicas (UF). Sin embargo, son confusos los criterios para considerar un fraseologismo como humorístico, lo cual provoca la disparidad de descripciones lexicográficas recogidas en distintos diccionarios. Por eso, tras un análisis de la significación fraseológica y de los puntos básicos del humor lingüístico, intentamos aunar ambos enfoques con el fin de elaborar pautas claras de determinación del carácter humorístico de algunas UF y, por ende, de la inclusión de la marca correspondiente en sus descripciones lexicográficas.

Burning questions, but no burning answers: collocation and idiomaticity

The attention of linguists has increasingly shifted from grammar to lexis. Collocation has emerged as a key feature of lexis. Research using large language corpora has not only helped to identify the significant collocates of individual words but also to confirm the importance of collocation in the language system. John Sinclair has suggested that language operates on two principles: open choice and idiom. If so, then collocation would appear to be the minimal level of idiomaticity. One problem with collocation is that words that habitually co-occur form less distinct, often discontinuous, idiomatic units, whereas grammar generally works with more precisely delineated and contiguous structural units. This paper uses examples from corpus evidence to look at various aspects of collocation.

Other Than a Citizen: Vernacular Poetics in Postwar America

Few symbols of 1950s-1960s America remain as central to our contemporary conception of Cold War culture as the iconic ranch-style suburban home. While the house took center stage in the Nixon/Khrushchev kitchen debates as a symbol of modern efficiency and capitalist values, its popularity depended largely upon its obvious appropriation of vernacular architecture from the 19th century, those California haciendas and Texas dogtrots that dotted the American west. Contractors like William Levitt modernized the historical common houses, hermetically sealing their porous construction, all while using the ranch-style roots of the dwelling to galvanize a myth of an indigenous American culture. At a moment of intense occupational bureaucracy, political uncertainty and atomized social life, the rancher gave a self-identifying white consumer base reason to believe they could master their own plot in the expansive frontier. Only one example of America’s mid-century love affair with commodified vernacular forms, the ranch-style home represents a broad effort on the part of corporate and governmental interest groups to transform the vernacular into a style that expresses a distinctly homogenous vision of American culture. “Other than a Citizen” begins with an anatomy of that transformation, and then turns to the work of four poets who sought to reclaim the vernacular from that process of standardization and use it to countermand the containment-era strategies of Cold War America.

In four chapters, I trace references to common speech and verbal expressivity in the poetry and poetic theory of Charles Olson, Robert Duncan, LeRoi Jones/Amiri Baraka and Gwendolyn Brooks, against the historical backdrop of the Free-Speech Movement and the rise of mass-culture. When poets frame nonliterary speech within the literary page, they encounter the inability of writing to capture the vital ephemerality of verbal expression. Rather than treat this limitation as an impediment, the writers in my study use the poem to dramatize the fugitivity of speech, emphasizing it as a disruptive counterpoint to the technologies of capture. Where critics such as Houston Baker interpret the vernacular strictly in terms of resistance, I take a cue from the poets and argue that the vernacular, rooted etymologically at the intersection of domestic security and enslaved margin, represents a gestalt form, capable at once of establishing centralized power and sparking minor protest. My argument also expands upon Michael North’s exploration of the influence of minstrelsy and regionalism on the development of modernist literary technique in The Dialect of Modernism. As he focuses on writers from the early 20th century, I account for the next generation, whose America was not a culturally inferior collection of immigrants but an imperial power, replete with economic, political and artistic dominance. Instead of settling for an essentially American idiom, the poets in my study saw in the vernacular not phonetic misspellings, slang terminology and fragmented syntax, but the potential to provoke and thereby frame a more ethical mode of social life, straining against the regimentation of citizenship.

My attention to the vernacular argues for an alignment among writers who have been segregated by the assumption that race and aesthetics are mutually exclusive categories. In reading these writers alongside one another, “Other than a Citizen” shows how the avant-garde concepts of projective poetics and composition by field develop out of an interest in black expressivity. Conversely, I trace black radicalism and its emphasis on sociality back to the communalism practiced at the experimental arts college in Black Mountain, North Carolina, where Olson and Duncan taught. In pressing for this connection, my work reveals the racial politics embedded within the speech-based aesthetics of the postwar era, while foregrounding the aesthetic dimension of militant protest.

Not unlike today, the popular rhetoric of the Cold War insists that to be a citizen involves defending one’s status as a rightful member of an exclusionary nation. To be other than a citizen, as the poets in my study make clear, begins with eschewing the false certainty that accompanies categorical nominalization. In promoting a model of mutually dependent participation, these poets lay the groundwork for an alternative model of civic belonging, where volition and reciprocity replace compliance and self-sufficiency. In reading their lines, we become all the more aware of the cracks that run the length of our load-bearing walls.

Elizabeth Bowen and the art of visuality

This thesis is the first sustained assessment of Elizabeth Bowen’s writing from a visual perspective. By first compiling a visual biography of the author, I argue that Bowen’s responsiveness to art, her relationships with artists, and her knowledge of modern and traditional aesthetics are formative influences on her work. Investigating her assertion that she was a “visual writer,” my discussion develops into an examination of her technique of “verbal painting” through which she reinvents traditional visual modes as a personal modernist idiom. Close textual analysis of Bowen’s fictions forms the dominant methodology of this thesis and facilitates my delineation of her engagement with the Futurist and Surrealist aesthetics in addition to broader aspects of her visuality, including her treatment of the “vividly visual” dream-state to the distinct ocularcentricity of her writing. Ultimately, this thesis seeks to advance our knowledge of Bowen’s visual method and to offer a new approach in which to nuance our understanding of her modernism

La fijación léxica en el "Corpus diacrónico del español del Reino de Granada (CORDEREGRA)"

El estudio de las combinaciones léxicas según su grado de fijación y su distinción en combinaciones libres, colocaciones y locuciones ha sido realizado desde la perspectiva sincrónica. Planteamos la posibilidad de aplicar las pautas para distinguir estos tipos de estructuras en materiales de tipo diacrónico. Concretamente, nos basamos en los documentos que componen el Corpus del Español del Reino de Granada (CORDEREGRA) para valorar los materiales de este corpus histórico-lingüístico y comprobar si los criterios sincrónicos se pueden aplicar al estudio de documentos de otros siglos.

Orthogonal persistence in Java supported by aspect- oriented programming and reflection

The persistence concern implemented as an aspect has been studied since the appearance of the Aspect-Oriented paradigm. Frequently, persistence is given as an example that can be aspectized, but until today no real world solution has applied that paradigm. Such solution should be able to enhance the programmer productivity and make the application less prone to errors. To test the viability of that concept, in a previous study we developed a prototype that implements Orthogonal Persistence as an aspect. This first version of the prototype was already fully functional with all Java types including arrays. In this work the results of our new research to overcome some limitations that we have identified on the data type abstraction and transparency in the prototype are presented. One of our goals was to avoid the Java standard idiom for genericity, based on casts, type tests and subtyping. Moreover, we also find the need to introduce some dynamic data type abilities. We consider that the Reflection is the solution to those issues. To achieve that, we have extended our prototype with a new static weaver that preprocesses the application source code in order to introduce changes to the normal behavior of the Java compiler with a new generated reflective code.

Colombian Jazz dance suite : a synthesis of the music of the colombian andes and modern jazz

This thesis is an attempt to unite two distinct and dissimilar musical genres, the music of the Colombian Andes and modem jazz. The compositions to be analyzed in this thesis are meant to function as parts of a whole. Thus, they will be linked by thematic and rhythmic material. In their entirety the pieces will form a suite of dances not unlike those of Baroque composers, with titles that denote the name of the particular air being employed by the composer, who is also the author of this thesis. These individual dances are orchestrated for a jazz ensemble consisting of piano, string bass, drums, alto saxophone, and guitar. The rhythmic underpinning of this work is inspired by the folk music of Colombia and the harmonic content will be derived from the jazz idiom. The purpose of this thesis is to demonstrate the possible product of the fusion of musical disciplines that are on the surface in no way related. This thesis will also attempt to show an example of how cultures can meld socio-artistically.

Under western eyes again : rights vernacular and the gender culture 'clash'

Gender features prominently in debates about the clash between human rights and culture, where ‘culture’ is often portrayed as a supreme obstacle to the realisation of women’s rights. Sometimes framed as an ethical conundrum between universalism and cultural relativism, the clash between culture and rights recites one as always and inevitably undercutting the other — culture undermines rights, and the imposition of human rights damages culture. An innovative attempt at recasting this clash has been a focus less on abstract philosophical debates and more on the cultural politics of rights — in particular, how they are made relevant to everyday life. Anthropologists Merry (2006; 2008a) and Levitt and Merry (2009; 2011) propose the analytical and ethnographic study of vernacularisation by demonstrating how, in local contexts, women’s human rights are remade in the vernacular. This approach has yielded rich knowledge about the myriad ways in which expectations of female inferiority and masculine entitlement to violence are contested — not through the import of Western ideas of human rights, but through the local idiom. This article considers the productive contribution of vernacularisation to this contested terrain, while also pointing to the limits that issue from its dependence on distinguishing the global from the local. Today, these two spaces are not so clearly discerned — particularly in multicultural settings where the local and the global are fused, and where human rights are translated into a vernacular of current political anxieties to do with racial and cultural difference. This is a vernacular that disguises or disavows racism through the language of human rights. These themes are illustrated and explored through the case study of a small community event in an outer suburb of Melbourne, where gender, culture and religion play out through both local and international rights vernacular.

Discovering Hands - México

El modelo de Discovering Hands ha sido reconocido internacionalmente como un proyecto innovador que se ha expandido por diferentes países del mundo, como Austria, y se ha empezado a estudiar la propuesta en países como República Checa, India y Colombia. (Discovering Hands, 2016). Esto se debe a que no solo mejora el tratamiento de cáncer de mama, sino que también reduce los costos totales de tratamiento de la enfermedad y aumenta la fuerza laborar de los países donde esté presente. Al representar una gran oportunidad en diferentes aspectos, se quiso desarrollar un estudio de factibilidad del modelo de negocio en tres países de América Latina, Colombia –donde ya se encuentra en marcha un proyecto piloto liderado por la CAF en Cali - , Argentina y México. El presente trabajo consiste en dicho estudio de factibilidad, focalizado en México; por medio de este se buscaron tres cosas primordiales, conocer y estudiar el contexto del mercado y situación de salud en el país, analizar los datos recogidos, con el fin de proponer soluciones para disminuir una de las principales causas de muerte en el país. Actualmente en México el 52% de casos de cáncer de mama diagnosticados sucede en etapas tardías, aumentando el riesgo de muerte de los pacientes (Colima, 2013). Con el estudio se logró identificar una oportunidad potencial para Discovering Hands siendo su estrategia un recurso adicional para contribuir a mejorar el diagnóstico precoz de cáncer de mama en el país y debido a esto se presenta un modelo de negocio adaptable a las necesidades mexicanas