Academic literature on the topic 'Linguistic Synaesthesia'

This thesis aims to investigate some of the complex processes involved in eight year old children's music memory processes with reference to the audition of substantial extracts of music compositions, the modes of mental imagery evoked and their place in music memory by using a multi-method design. It aims in the first stage to discover whether random allocation from a large sample and socio-geographic cross section of children to four different condition groups (Kinaesthetic, Auditory, Visual and Linguistic) has observable effects on recognition in a music listening memory test. The literature review draws on different perspectives of memory research commencing with an overview of some earlier theories of information processing and cognitive memory research, more recent theories of imagery creation, encoding and retrieval in music listening and autobiographical memory before turning to music education research and then neuroscientific and neurobiological memory research with a specific focus on the inter relationships between the modalities and modes and on synaesthesia. The first stage of the research is an experimental design involving two replications of earlier 1991 research which elicits both categorical and aesthetic data in the form of children's drawings, writing, and movement. The first of these are analysed statistically to observe differences in recognition between the four condition groups. After the first large scale analysis, further sub-categorical analyses take place between large and small groups, schools, condition groups, gender and musical items comprising the music recognition test. No significant differences are found in memory recognition between three condition groups but when four groups are compared (kinaesthetic, visual, auditory and linguistic), there is significantly lower memory recognition for the auditory group. Following the replications, further research investigates children's preferences for condition group, the effects of different items on memory and the time span between the first and second part of the music test. Following categorisation and summary of the children's metaphors elicited during the first stage some discussion points are noted, the latter providing the impetus for, and transition to the next research stage in which the researcher engages in conversations and communications with eight children aged eight years about their external responses and metaphors (drawings, writing, movement) and inner mental imagery which have been elicited from listening to the music during the first research stage. In this way, the aesthetic data from the first stage become enmeshed in the second stage where the children interact with their own metaphors. The aims of this second stage are to discover more about the children's inner modes of imagery elicited whilst listening to music in order to make some inferences about the memory processes involved and to discover whether children are able to illuminate any of those processes themselves through metamemory. Here the researcher endeavours to implement a model for the conversations which embraces linguistic communication alongside non-linguistic through the employment of drawing, gesture, mime, humming and moving as well as speaking. The final section of the thesis comprises synthesis and evaluation. In the first, the specificity of the results from the experimental stage are considered in iterative interaction with the thematic and inferential analyses from the second stage and are illuminated by examples of the children's drawings, writing, movement and words which comprise the metaphors. Conclusions are drawn which suggest that children's gestures, writing, movement and drawing and the modes of imagery which lie behind them often contain narratives of imagery which track the music through time, that children most often employ a rich array of multi-modal imagery which in some cases may even be synaesthetic and that their images are bound up with emotions and feelings often linked to autobiographical memory. The study also shows how some children have a degree of insight into their own memory processes (metamemory). In the final two chapters, a critique of the entire process is made before describing some future potentialities for research and possible implications for teaching and learning before a final reflection from the researcher.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This work presents a research in visual arts, specifically in the art technology field. Based in a poetic research which involves audiovisual with computational technology, we focus in experiences of audio and video manipulated in real time. To do that, we start with a historic briefing about the context in the beginning of videoart delimiting the research with experiences realized by brazilian artists. In parallel with the study about video, we discuss computer based artistic productions and their relation with videoartists towards to the concept of expanded cinema, which is important to audiovisual studies with digital technology. Moreover, the focus on video and computational resources introduces aspects related to performance art and more specifically, to the VJ pratice. Then we relate the actual concept in contemporary art which defends the notion of pos-production artist. Therefore, in this dissertation , we present five works of the present author: Projeções de Nós mesmos, Maquínica, Todo dia, Antropaisagem and Fluxo, which are the base for the discussion in this research. Hence, using these works we discuss the notion of autorship and improvise in the esthetic experimentations, and besides we treat some aspects about the temporality and the concept of sinestesia in art.<br>Este trabalho apresenta uma pesquisa em artes visuais, especificamente no campo da arte e tecnologia. Baseado em uma investigação poética que envolve o audiovisual com a tecnologia computacional, está concentrado nas experiências em que o áudio e vídeo são manipulados ao vivo. Por isto, inicia-se com um levantamento histórico sobre o contexto em que a videoarte surge e, após, delimitase às experiências realizadas por artistas brasileiros. Paralelamente ao estudo do vídeo, abordam-se as produções artísticas realizadas com computador e sua relação com os videoartistas até chegar ao conceito de cinema expandido, o qual se demonstra pertinente a este estudo do audiovisual em contato com a tecnologia digital. Ainda com o foco no vídeo e nos recursos computacionais, introduz-se alguns aspectos referentes à performance e, mais especificamente, à prática do VJ. Então, traça-se uma relação com um conceito atual da arte contemporânea que defende a noção do artista da pós-produção. Nesta dissertação, são apresentadas cinco obras do autor: Projeções de Nós mesmos, Maquínica, Todo dia, Antropaisagem e Fluxo, as quais servem como base para a discussão realizada nesta pesquisa. Assim, a partir das questões observadas nas obras, discute-se a noção de autoria e do improviso nas experimentações estéticas, além de tratar aspectos relativos à temporalidade e ao conceito da sinestesia na arte.

Sinestezijska metafora smatra se posebnom vrstom metafore kod koje je izvorni domen utisak primljen preko jednog čula, dok je ciljni domen utisak primljen preko drugog čula, npr. o&scaron;tar ukus, sladak miris, tople boje i sl. Rezultati dosada&scaron;njih istraživanja ukazuju na izvesne op&scaron;te tendencije vezane za smer metaforičkog preslikavanja kod sinestezijskih metafora: hijerarhijski &bdquo;niža&ldquo; čula, kao &scaron;to su dodir i ukus, preslikavaju se na &bdquo;vi&scaron;a&ldquo; čula, kao &scaron;to su zvuk i vid, odnosno, konkretniji i dostupniji čulni modaliteti preslikavaju se na apstraktnije. Primećeno je da ove tendencije postoje u različitim jezicima i različitim diskursima i da su primenjive kako kod dijahronih tako i kod sinhronih istraživanja. S druge strane, utvrđene su i izvesne razlike između različitih jezika koje se mogu pripisati pre svega kulturolo&scaron;kim uticajima. S obzirom na to da su u sinestezijskim metaforama oba domena čulna, posebna pažnja se posvećuje i specifičnoj perceptivnoj ali i kognitivnoj osnovi ovih metafora.Cilj istraživanja u ovoj disertaciji je da se kroz kontrastivnu analizu izuče sinestezijsko-metaforički prenosi značenja u engleskom i srpskom jeziku i ukaže na univerzalne tendencije kao i međujezičke varijacije, dok se posebna pažnja posvećuje upravo perceptivnim, kognitivnim i kulturolo&scaron;kim aspektima ove pojave.Istraživačka građa sačinjena je od sinestezijskih prideva, odnosno prideva koji imaju dva ili vi&scaron;e značenja u različitim čulnim domenima. Istraživanje je rađeno na osnovu rečničke analize, dok su konsultovani i elektronski korpusi. Za svaki čulni domen (a ukoliko je moguće i za poddomene nekih čula) ustanovljene su tendencije u smerovima metaforičkog preslikavanja. Rezultati su obrađeni deskriptivnom i kontrastivnom metodom i obrazloženi uz pomoć saznanja iz oblasti kognitivne lingvistike ali i drugih naučnih oblasti.<br>Synaesthetic metaphors are considered to be a special type of metaphor in which one sensory modality is described in terms of another, e.g. sharp taste, sweet smell, warm colours etc. Research conducted in different languages indicates that there are certain tendencies concerning the directionality of metaphoric mapping: that hierarchically &ldquo;lower&rdquo; senses, such as touch and taste tend to map onto &ldquo;higher&rdquo; modalities, such as sound and sight; alternatively, we can say that more concrete and more accessible modalities tend to map onto more abstract ones. The determined tendencies proved to be applicable even to linguistically unrelated languages, different registers and to both diachronic and synchronic studies. On the other hand, there are certain differences among different languages, which can be attributed to cultural influences. Also, since both domains in synaesthetic metaphors are sensory modalities, a special emphasis in studies is placed on the particular perceptive as well as cognitive bases of this phenomenon.The research in this thesis is a contrastive analysis of synaesthetic transfers of meaning in English and Serbian. The aim of the research is to point to universal tendencies of synaesthetic metaphors and cross-linguistic variations between the two languages, while special emphasis is placed on the particular perceptive and cognitive bases of this phenomenon, as well as the influences of culture on the formation of these expressions.The language material is composed of synaesthetic adjectives, i.e. adjectives that have two or more meanings in different sensory domains. The research is based on the analyses of dictionary entries of English and Serbian sensory adjectives, while additional examples are collected form electronic corpora. The directionality of mapping is determined for each sensory domain (and, if possible, for sensory subdomains). The research results are analysed using descriptive and contrastive methods and explained using findings from the field of cognitive linguistics as well as other relevant scientific fields.

v anglickém jazyce The purpose of this thesis is to identify the principles and main aspects of a possible future theory of written language and to critically analyze the existing approaches to this issue. The first chapter outlines the main principles serving as a background for the other parts of the thesis. The second chapter deals with non-empirical approaches to the written language: it introduces selected conceptions of the written language and attempts to critically reflect their theoretical impact. In the third chapter, selected empirical approaches to the written language are considered; it shows how particular empirical researches and empirically based findings could help in the formation of a new theory. The fourth chapter offers a critical review of the conception of the style-forming agents in the Czech and Slovak linguistics. In its second part, possibilities of a more valid and reliable approach to this issue are shown using the example of an experiment on style-forming agents preparedness and unpreparedness. The fifth chapter considers the phenomenon of synaesthesia in the relationship to the written language: the aim is to connect a research area, which would be considered as non-linguistic in the eyes of autonomous linguistics, with paramount linguistic problems.