4,293 research outputs found
Tradução de poesia: Emily dickinson segundo a perspectiva tradutória de Augusto de Campos
Full text linkDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2014Esta dissertação, a partir da perspectiva teórica e prática de Augusto de Campos quanto à tradução de poesia, visa analisar sete de suas traduções dos poemas da norte-americana Emily Dickinson, publicadas na obra Emily Dickinson: não sou ninguém, em 2008. O trabalho foi dividido em três capítulos. O primeiro tratados principais elementos que constituem a poética de Dickinson, bem como das traduções brasileiras de suas obras. Como embasamento teórico foram utilizados Gilbert e Gubar (1984), Donoghue (1969), Sewall (1963) e Daghlian(1987), dentre outros autores. O segundo capítulo tem como objetivo apresentar Augusto de Campos como poeta e como tradutor, com ênfase nos seus comentários sobre tradução, visando compreender sua prática tradutória. O terceiro capítulo analisa as traduções de sete poemas de Dickinson realizadas por Augusto de Campos e busca identificar a relação entre a teoria e a prática do tradutor. Essa análise, de caráter discursivo, além do plano formal e sintático, se concentra no plano semântico dos textos, tendo em conta que não possui a pretensão de realizar qualquer tipo de julgamento prescritivo.Abstract: This dissertation, from the perspective theoretical and practical of Augusto de Campos about the poetry translation, analyzes seven of his translations of the North-American poet Emily Dickinson, published in the book "Emily Dickinson: não sou ninguém", in 2008. This work contains three chapters; the first presents the main elements that constitute the Dickinson's poetry, as well as the Brazilian translations of her poems. It has, as theoretical support, author slike: Gilbert and Gubar (1984), Donoghue (1969) Sewall (1963) and Daghlian(1987). The second chapter aims to approach the main remarks of Augusto,highlighting his activity as poet and as translator, aiming to understand his practice of translation. The third chapter analyses the Augusto's translations of seven poems of Dickinson and try to identify the relationship between the theory and the practice of the translator. This discursive, besides the formal and syntactic field focuses on the semantic field of the poems, without any kind of prescriptive judgment
Gender and the politics of the gaze in Bronte's Wuthering Heights
Full text linkDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2009.O objetivo deste estudo é apresentar uma análise de como a imagem de Catherine é moldada pelo olhar masculino, como ela enfrenta os três tipos de olhar - o olhar dos personagens, o olhar do leitor, e o olhar do autor - e finalmente, se o olhar masculino é interrompido. O parâmetro teórico desta análise, o conceito do olhar masculino, é teorizado por Laura Mulvey no artigo "Prazer Visual e Cinema Narrativo" (1975) o qual critica a relação entre o olhar masculino e a imagem feminina do prazer visual moldado pela sociedade patriarcal. Através da crítica de Mulvey do prazer visual generizado em filmes, que pertence ao contexto do cinema clássico de Hollywood, articulo sua teoria em relação ao romance Wuthering Heights de Emily Brontë para examinar a dinâmica do olhar masculino em relação à personagem feminina Catherine. Este estudo teve também por objetivo analisar o quanto o paradigma teórico de Mulvey produzido para cinema poderia ser aplicado especificamente em um texto literário escrito no século XIX.The objective of this thesis is to present an analysis of whether Catherine's image has been shaped by the male gaze, how she contends with the three looks of the male gaze - the look of the characters, the look of the reader, and the look of the author - and finally, how the male gaze is broken. The theoretical parameter of this analysis, the concept of the male gaze, is theorized by Laura Mulvey in the article "Visual Pleasure and Narrative Cinema" (1975) which critiques the relation between the male gaze and the female image within the patriarchal molding of visual pleasure. Borrowing Mulvey's critique of the gendering of visual pleasure in films, which pertains to the context of classical Hollywood cinema, I have articulated her theory in relation to Emily Brontë's Wuthering Heights, to examine the dynamics of the male gaze regarding the female character, Catherine. This study also aimed at examing the extent to which Mulvey's theoretical paradigm produced for cinema could be articulated specifically in relation to a literary text written in the nineteenth century
Shaping and reshaping the aesthetic brain: Emerging perspectives on the neurobiology of embodied aesthetics
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156837.pdf (Publisher’s version ) (Open Access)Less than two decades after its inception, the burgeoning field of neuroaesthetics continues to grow in interest and momentum. Despite the biological and social importance of the human body and the attention people pay to its appearance in daily life, only recently has neuroaesthetic inquiry turned its attention to questions concerning the aesthetic appraisal of the human body. We review evidence illustrating that the complexity of aesthetic experience is reflected by dynamic interplay between brain systems involved in reward, perceptual and motor processing, with a focus on aesthetic perception involving the human body. We then evaluate work demonstrating how these systems are modulated by beholders' expertise or familiarity. Finally, we discuss seminal studies revealing the plasticity of behavioural and neural responses to beauty after perceptual and motor training. This research highlights the rich potential for neuroaesthetic inquiry to extend beyond its typical realm of the fine arts to address important questions regarding the relationship between embodiment, aesthetics and performing arts. We conclude by considering some of the criticisms and limitations of neuroaesthetics, and highlight several outstanding issues for future inquiry.13 p
Tye, Mrs S (Emily May), [No Service Number]
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/422584Surname: TYE. Given Name(s) or Initials: MRS S (EMILY MAY). Military Service Number or Last Known Location: [No Registration Number]. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 13666.248298
Item: [2016.0049.54845] "Tye, Mrs S (Emily May), [No Service Number]
Are humanoid robots perceived as mindless mannequins?
Full text linkThe shape and texture of humans and humanoid robots provide perceptual information that help us to appropriately categorise these stimuli. However, it remains unclear which features and attributes are driving the
assignment into human and non-human categories. To explore this issue, we ran a series of five preregistered
experiments wherein we presented stimuli that varied in their appearance (i.e., humans, humanoid robots, nonhuman primates, mannequins, hammers, musical instruments) and asked participants to complete a match-tocategory task (Experiments 1-2-3), a priming task (Experiment 4), or to rate each category along four dimensions (i.e., similarity, liveliness, body association, action association; Experiment 5). Results indicate that
categorising human bodies and humanoid robots requires the integration of both the analyses of their physical
shape and visual texture (i.e., to identify a humanoid robot we cannot only rely on its visual shape). Further, our
behavioural findings suggest that human bodies may be represented as a special living category separate from
non-human animal entities (i.e., primates). Moreover, results also suggest that categorising humans and humanoid robots may rely on a network of information typically associated to human being and inanimate objects
respectively (e.g., humans can play musical instruments and have a mind while robots do not play musical instruments and do have not a human mind). Overall, the paradigms introduced here offer new avenues through
which to study the perception of human and artificial agents, and how experiences with humanoid robots may
change the perception of humanness along a robot—human continuum
The Benefits of Being Economics Professor A (and not Z)
Full text linkAlphabetic name ordering on multi-authored academic papers, which is the convention in the economics discipline and various other disciplines, is to the advantage of people whose last name initials are placed early in the alphabet. As it turns out, Professor A, who has been a first author more often than Professor Z, will have published more articles and experienced afaster growth rate over the course of her career as a result of reputation and visibility. Moreover, authors know that name ordering matters and indeed take ordering seriously: Several characteristics of an author group composition determine the decision to deviate from the default alphabetic name order to a significant extent.performance measurement, incentives, economists, name ordering
Rudy's Gift
Full text linkAuthor: Noah Tomlinson | Illustrator: Emily Loughman | Designer: Giselle Aguilar | Editor: Jacklyn VelezRudy finds adventure while pursuing for the perfect gift
Phylogenetics, systematics and biogeography of deep-sea Pennatulacea (Anthozoa: Octocorallia): evidence from molecules and morphology
No full textDespite its extreme environmental conditions, the deep sea harbours a unique andspecies-rich fauna of mostly unknown age and phylogeny. Pennatulids (Anthozoa:Octocorallia) are a group whose taxonomy and phylogenetic relationships remain poorlyknown and little studied, in spite of their abundance and ecological importance in softbottomcommunities. Phylogenetic analysis of a combination of partial ND2 and msh1sequences produced well-supported phylogenetic relationships for representative deepsea(and shallow-water) pennatulids at familial, generic and specific taxonomic levels.Generally, molecular data were congruent with current classification and previousphylogenetic reconstructions of the O. Pennatulacea based on morphology.Discrepancies were evident concerning the finer details for some families and genera: thiscan be attributable to the high frequency of homoplasy in pennatulids where reversals inevolution have led to taxa that possess apomorphic character states that are analogouswith plesiomorphic traits. Genetic analysis gave strong support that highly-derived taxaoccur in both shallow and deep water and that many may have differentiated anddispersed from the deep sea to the shallows. The Renillidae, which is considered one ofthe most primitive shallow-water families, evolved recently from deep-water ancestors.Conversely, the bathyal Anthoptilidae was the most primitive of families, and althoughmore evidence is required, pennatulids as a group may have originated in deep water.The systematics of the exclusively deep-sea genus Umbellula, which contains fortytwospecies, remains unclear despite the repeated attempts of revision. Incorporatingnew morphological and distributional data from the examination of recently collectedmaterial, together with type specimens, genetic analysis, and a critical study of theliterature, fifteen Umbellula species are here considered valid, including three new toscience. Eight species lack sclerites in the autozooids, U. magniflora, U. encrinus, U.antarctica, U. carpenteri and Umbellula sp.1 n. sp. (quadrangular axes), and U. huxleyi andU. pellucida (round axes); and seven possess autozooid sclerites, U. thomsoni and U.hemigymna (quadrangular axes), and U. monocephalus, U. aciculifera, U. durissima,Umbellula sp.2 n. sp. and Umbellula sp.3 n. sp. (round axes).Biogeographic data and genetic evidence supported the hypothesis that species ofUmbellula differentiated in the Indo-Pacific. Many radiated southwards to the Antarcticand later north into the Atlantic, E Pacific, Indian and Arctic oceans, occupying bathyaland abyssal depths. Other, older species that evolved via a separate evolutionarypathway, may have originated in the Indo-Pacific, and dispersed to the Subantarctic (U.sp.2 n. sp.) or Indian and Atlantic oceans (U. monocephalus). Further, morphologicalexamination of Umbellula showed it adapted to the oligotrophic conditions of the deepsea by reducing the number but increasing the size of the autozooids, and in doing so,enlarged the food-catchment area; abyssal species have done so even more extremely
Williams, Elmira Emily Mrs, [No Service Number]
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/425959Surname: WILLIAMS. Given Name(s) or Initials: ELMIRA EMILY MRS. Military Service Number or Last Known Location: [No Registration Number]. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 58636.252788
Item: [2016.0049.58220] "Williams, Elmira Emily Mrs, [No Service Number]
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