Dissertations / Theses on the topic 'Onomatopee'

L'exploitation de l'onomatopee en france dans la musique pre-tonale et post-tonale est etudiee dzans trois directions : symbolique, historique et esthetique, articulees en deux parties : diachronique et synchronique. Cette methodologie montre d'une part, que, par ses definitions, ses modes d'emploi et ses differents corpus, l'onomatopee est une revelateur et un inducteur de plusieurs pratiques musicales a des moments precis de l'histoire musicale, en rapport dialectique avec les faits historiques, un etat des mentalites et un climat d'imagination propres a chaque epoque etudiee. D'autre part, l'onomatopee se dote d'une semiologie originale, assurant ainsi une adequattion onomatopee musique au service d'une signification commune. Dans un premier temps de l'histoire musicale, l'onomatopee repose sur des principes expressifs et imitatifs (ix-xviemes siecles) ; dans un deuxieme temps, elle s'attribue de nouvelles definitions pour repondre a des nouveaux besoins vocaux (xxeme). Apres avoir defini les notions de sens et de signification en musique, l'etude semantique de l'onomatopee dans son rapport a la musique, le principe de la motivation et la description d'une rhetorique onomatopeique sont abordes
English abstract the exploitation of onomatopoeia in france in pre-tonal and post-tonal music is studied in three directions : symbolic, historic and esthetic. For this, two approaches were considered : diachronic and synchronic. The diachronic approach has shown that, by its definition, the ways of its use and its different corpus, onomatopoeia was a revealer and an inducer of many musical practices at definite times of music history, in dialectic connection with historic facts, with the state of mentality and with a climate of imagination specific to each period. The synchronic approach has shown that onomatopoeia builds an original semiology, allowing an adequation onomatopoeia music in service of a common signification. In a first time of music history, onomatopoeia was based upon expressive and imitative principles (ixth-xvith centuries) ; in a second time, it developed new definitions in order to satisfy new vocal needs (xxth century). In this thesis, we investigate the notions of sense and signification in music. This is followed by a semantic study of onomatopoeia in its relationship with music. The principle of motivation and a description of an onomatopeic rhetoric are then exposed

L'elaborato finale è una proposta di traduzione e relativa analisi di alcune pagine del libro "Der schwarze Schatten" di Anja Stroot. Nel primo capitolo viene descritto il genere letterario e la collana a cui appartiene il libro, successivamente è presentata la proposta di traduzione con relativa analisi, che verte sui punti che si sono rivelati ostici: differenze culturali, nomi propri e geografici, espressioni colloquiali e onomatopee.

C’est une analyse phonétique et sémiotique dans une forme susceptible comparative et contrastive des éléments de différences. En comparant l’onomatopée française et japonaise, la relation entre le son et la signification s’établie. D’autre part, le code de chaque langue pour créer des onomatopées se révèle. Après avoir sondé l’étymologie, il s’agit de confronter le « signifié » et le « signifiant ». De nombreux exemples d’utilisation dans la littérature ou les chansons permettent d’attester l’efficacité de l’onomatopée. La longévité de l’onomatopée et le sentiment universel dans la phonétique démontrent l’universalité longitudinale et horizontale
This work is a phonetic and semiological analysis in the susceptible comparative formulation and the contrast of different elements. In comparing the French and Japanese onomatopoeia, the relation between the sound and the signification appear. On the other hand, the code of each language for creating onomatopoeias is revealed. After the research into the etymology, this work is brought to a consideration of the question between the “signified” and the “signifier”. Many examples in the literature or songs illustrate the effectiveness of the onomatopoeia. The longevity of the onomatopoeia and the feeling of a common sound in both languages demonstrate the longitudinal and horizontal universality

Cette étude fondée sur une des particularités du quechua (Andes) qui est de structurer le discours en se servant fréquemment d'onomatopées et de mots expressifs, concerne le dialecte Chinchay (quechua II C) et plus précisément le parler de Cuzco (département) dans la région sud du Pérou. Des comparaisons sont signalées avec d'autres dialectes (Bolivie) et des formes anciennes. Un corpus exhaustif de formes codifiées (200 items) ,recueilli sur le terrain, est analysé selon le modèle tri-fonctionnel du langage de Bühler. De nombreux exemples illustrent des emplois correspondant à la fonction émotive (expressions subjectives), phatique (orientée vers le destinataire) et référentielle (onomatopées) ainsi que des cas de figure spécifiques : fonction magique ou incantatoire et reproduction de cris d'animaux. L'étude de la forme (structure phonique) est faite en complémentarité avec la définition des champs sémantiques. Mise en évidence 1°) du rapport son-sens, 2°) du fonctionnement syntaxique. Deux textes (récits de traduction orale) avec transcription phonologique, analyse morpho-syntaxique et traduction juxta-linéaire complètent ce travail. Un tableau explicatif des morphèmes figurant dans les textes et exemples est donné. En annexe, une analyse phonologique du dialecte de Cuzco. Bibliographie
This study is based ont the particularity of quechua, specifically Chinchay dialect (quechua II C, Cuzco, Peru), that is, structuring discourse with onomatopeia & subjective expressions. An exhaustive collection of fixed forms (200 items) recorded in the field, is analysed according to Bühler's tri-functional model of language : emotive (subjective expressions), phatic (communication-like commands), referential (onomatopeia & imitation of birds calls), & in addition, the special function which burst out in the magic or sorcerous task of language. The present study is made by defining large semantic features. An emphasis on 1) the relation sound / meaning, 2) ont he morphological processes & syntactic construction. Two texts of oral tradition follow, with phonetic transcription, morpho-syntactic analysis & juxtalinear translation. A table of morphemes used in the texts is given. Phonological analysis of Cuzco dialect in annex. Complete bibliography

Le XIVe et le XVe siècle ont été particulièrement riches en recherches et en innovations musicales. Ils ont aspiré à une meilleure relation de la musique et du texte et au développement de l'expressivité. Ces conditions - liées à un nouvel intérêt pour la nature dans les arts - ont encouragé la création onomatopéique dans les pièces vocales profanes en Italie et en France. Par le rapport privilégié qu'elle impose entre les notes et les mots et par son caractère expressif, l'onomatopée a contribué à l'évolution du langage musical. La notion d'imitation apparait ici secondaire tant le choix des phonèmes relève de l'arbitraire et d'une convention respectée par tous les compositeurs. Dans les formes madrigalesques italiennes et françaises et dans la chanson au XVIe siècle, la fonction de l'onomatopée est d'abord symbolique, ludique, et correspond à la sensibilité expressive des musiciens de ce temps
The 14th and 16th centuries were particularly rich in musical research and innovation, aspiring to a closer relationship between music and lyrics, and to the development of expression. These conditions - tied to a new interest for nature in the arts - encouraged the onomatopoeic creation in Italian and French profane vocal music. By the privileged relationship it imposes between notes and words and by its expressive character, onomatopoeia contributed to the evolution of musical language. The notion of imitation appears here as being secondary, the selection of the phonemes depending mostly on an arbitrary choice and on a convention respected by all composers. In the 16th century Italian and English madrigal forms and French "chanson", onomatopoeia's function is first of all symbolic, diverting, and corresponds to the expressive sensibilities of the period's musicians

Mestrado em Ciências da Fala e da Audição
Foram analisados parâmetros acústicos extraídos da forma de onda, espectrograma e espectro de estímulos de sons não verbais. Realizou-se uma experiência de percepção em que 8 falantes do Português Europeu produziram onomatopeias para descrever os sons não verbais, analisando-se as características acústicas dos fones utilizados e dos respectivos sons não verbais. Foram também efectuadas duas experiências de percepção em que os sujeitos procuraram identificar os sons não verbais manipulados com filtros passa-banda e com ruído em diferentes gamas de frequências. Os resultados obtidos indicam que as características acústicas dos sons não verbais estão relacionadas com o material que os produz e com o tipo de interacção entre os materiais. Foram também observadas correlações entre as características acústicas dos sons não verbais e as dos sons da fala utilizados para os descrever.
In this study the features of environmental sounds were analysed using parameters extracted from the acoustic signal waveforms, spectrograms and spectra. We also ran a perceptual experiment involving 8 European Portuguese speakers that produced onomatopoeias to describe the environmental sounds. Speech sounds used in onomatopoeias and the environmental sounds were then analysed. Two perception experiments were also developed, in which subjects had to identify band-pass filtered and noisy environmental sound stimuli. The results suggested that the acoustic features of environmental sounds are related to the materials and interactions envolved in the soundproducing event. There was also evidence showing that speech and environmental sounds have related acoustic features.

Dans le cadre de la théorie des matrices, des étymons et des radicaux (Bohas 1997,2000), on arrive à rendre compte de la fonctionnalité du biconsonantisme et de la complexité du signe linguistique hébrai͏̈que : il s'agit d'une structure mimétique dont les conditions d'émergence résident en la potentialité que possède un jeu combinatoire phonétique simple de véhiculer des valeurs notionnelles invariantes. Procédant sur des ensembles lexicaux larges, dans un travail d'abstraction de plus en plus grande, le lexique de l'hébreux biblique s'articule autour de trois niveaux de représentation : 1) Le niveau des "matrices" : c'est le niveau de l'émergence du signe linguistique, où une combinaison binaire de traits, non ordonnée, est assignée à un invariant sémantique et dont le rapport est "maximalement" motivé; 2) Le niveau des "étymons" : c'est le niveau des signes simples, monosyllabiques et biconsonantiques, qui actualisent - formellement, et développent- conceptuellement, en langue, la structure matricielle; 3) Le niveau des "radicaux" : c'est le niveau des étymons extensés par divers crémentiels, dont la charge mimophonique est "patente" ou "implicite", rendue opaque au travers des changements linguistiques inhérents à tout système de la langue. A la lumière de cette architecture lexicale, la relation de signification du signe hébrai͏̈que est conçue non plus entre la forme et le sens des lexies mais sous l'aspect d'un lien entre leur forme et la valeur signifiée de la matrice-source.

Communément appelés « onomatopées », les impressifs graphiques sont des mots mimétiques sonores (onomatopées ou giongo) ou non sonores (impressifs ou gitaigo) qui sont employés dans les mangas. Le plus souvent tracés à la main et intégrés aux dessins, ils tirent leur pouvoir expressif de procédés linguistiques comme l’emploi de nombreuses variantes et néologismes, et de procédés graphiques comme la stylisation ou le traitement métonymique des tracés, ou encore l’exploitation des particularités du système scriptural japonais. Notre étude s’appuie sur un corpus de mangas publiés entre 1986 et 1996, en se concentrant particulièrement sur JoJo’s Bizarre Adventure, d’Araki Hirohiko, Bonobono, d’Igarashi Mikio, et Réincarnations : Please Save My Earth, de Hiwatari Saki. Après avoir examiné en détails ces caractéristiques morphologiques, nous analysons la place et le rôle des impressifs graphiques dans la syntaxe des mangas, en traitant notamment les questions de leur relation d’ancrage aux dessins iconiques, de leur inscription dans l’espace diégétique et de leur appartenance à un réseau textuel complexe. Enfin, nous examinons la façon dont les impressifs graphiques prennent part à la narration et à l’esthétique des mangas à travers leur contribution à l’expression du temps et à l’expression de l’intériorité des personnages
The subject of this dissertation is mimetic words that express sounds (onomatopoeia or giongo) or other types of sensations (gitaigo) that are used in manga. Most often traced by hand and integrated into the drawings, they derive their expressive power from linguistic devices such as the use of numerous variants and neologisms, and graphic devices such as the stylization or the metonymic treatment of the written characters, or the exploitation of peculiarities of the Japanese scriptural system. After having examined in detail these morphological characteristics, we analyze the role of mimetic words in the syntax of manga, by treating in particular the questions of their relation of anchoring to the iconic drawings, of their inscription in the diegetic space and of their belonging to a complex textual network. Finally, we examine the way in which the mimetic words take part in the narration and the aesthetics of manga through their contribution to the expression of time and to the expression of the interiority of the characters. Our study draws on a body of manga of various genres published between 1986 and 1996, with a particular focus on Araki Hirohiko’s JoJo's Bizarre Adventure, Igarashi Mikio’s Bonobono, and Hiwatari Saki’s Please Save My Earth

L’onomatopée et l’interjection qui ont été étudiées de manière approfondie dans le domaine français dès le XVIIIe siècle n’ont fait l’objet que de quelques allusions dans la théorie grammaticale arabe traditionnelle. C’est ce vide que la présente thèse se propose de combler. Il s’agit d’une étude lexicale qui s’insère dans les recherches développant la théorie des matrices et des étymons (TME). Elle comprend deux grandes parties. La première se compose de deux chapitres. Le premier est consacré aux interjections (34 cas) et le second aux onomatopées proprement dites (18 cas). Dans ces deux chapitres, on procède à la manière de Guiraud (1967, chapitre III, « Structures onomatopéiques », ex. la racine T. K.). On extrait de l’interjection ou de l’onomatopée les deux consonnes qui les composent et on les considère comme un étymon dont on suit les diverses réalisations dans le lexique, en veillant toujours à la corrélation phono-sémantique. Il ressort de cette première partie que les racines (au sens traditionnel du terme) émanant d’étymons onomatopéiques sont près de neuf cents.Comme nous avons observé la présence du trait [+strident] dans un bon nombre de ces étymons, nous avons consacré la seconde partie à l’étude d’une nouvelle matrice qui se compose des traits [+strident] et [coronal], corrélés l’invariant notionnel « son, voix, bruit » et ses conséquences ,incluant la peur, le mouvement et ses diverses caractérisations. Cette matrice se réalise dans 69 étymons qui sont disposés par ordre alphabétique. Les réalisations de chaque étymon sont disposées en trois colonnes : le radical où l’étymon se réalise, la référence dans le tableau de l’organisation de l’invariant notionnel, le sens (tel qu’il est donné dans le Kazimirski).Il ressort de cette double étude qu’un immense pan du lexique de l’arabe est motivé, pourvu que l’on situe l’analyse au niveau des traits, la corrélation s’établissant entre le bruit et la définition même du trait de stridence, les sons stridents « se caractérisant acoustiquement par une plus grande quantité de bruit que leurs correspondants non-stridents » (Chomsky et Halle, 1968, p. 166)
Although onomatopoeia and interjections in French have been studied in depth since the 18th century, they have only been alluded to in traditional Arabic grammatical theory. This thesis is intended to remedy this situation with a lexical study applying the Theory of Matrices and Etymons (TME). The thesis is divided into two major sections, the first of which comprises two chapters. The first chapter deals with 34 interjections and the second 18 onomatopoeia. The approach adopted in these first two chapters is that of Guiraud (1967, chapter III devoted to onomatopoeic structures, e.g. the T. K. root). The interjections and onomatopoeia are extracted from the consonants which compose them; these consonants are considered as an etymon the various realisations of which are pursued in the lexicon with constant attention to the phono-semantic correlation. This first part shows that there are nearly nine hundred roots (in the traditional meaning of the term) arising out of the onomatopoeic etymons. Given the presence of the [+strident] feature in a large number of these etymons, the second part of this thesis is devoted to a new matrix comprising the correlated [+strident] and [coronal] features, the notional invariant "sound, voice, noise" and its consequences including fear, movement and its various characteristics. This matrix is realised in 69 etymons ordered alphabetically. The realisations of each etymon are given in three columns: the radical in which the etymon is realised; the reference in the organisational table of the notional invariant; the meaning (as given in Kazimirski).This double study reveals that - provided that the analysis is established at the phonetic feature level - an immense area of the Arabic lexicon is motivated, the correlation between the noise and the very definition of the feature of stridence and strident sounds: "Strident sounds are marked acoustically by greater noisiness than their nonstrident counterparts" (Chomsky et Halle, 1968, p. 329)

Qu’on la considère comme faisant partie de la langue ou à la limite de celle-ci, l’interjection a toujours attiré l’attention des chercheurs. Aujourd’hui, l’étude de l’interjection relève d’un champ de disciplines vaste, et son rôle crucial dans la communication n’est plus mis en doute : l’interjection est inscrite dans le discours, et ses fonctions y sont nombreuses. Dans ce travail de thèse, nous étudions l’interjection en tant que marque d’oralité dans un texte écrit, sur l’exemple des bandes dessinées francophones et russophones, le but étant d’appliquer les conclusions traductologiques à la théorie de l’interjection. Cette analyse contrastive permet non seulement de définir les techniques de sa traduction, allant de la traduction littérale à l’adaptation ou la compensation, mais également d’enrichir sa théorie linguistique en confirmant son caractère conventionnel, sa polysémie, sa similitude avec la phrase, et son aspect fonctionnel. En complémentarité avec l’approche linguistique et traductologique, nous nous intéressons à l’étude de la plasticité de l’interjection : la visualité étant un facteur déterminant dans la construction du sens de l’interjection qui introduit les interrogations sur la poétique de l’interjection et l’élaboration du style à travers l’interjection dans la bande dessinée. Enfin, ce travail débouche sur d'intéressantes perspectives sur la comparaison de la traduction de l’interjection dans plusieurs paires de langue : cette étude de l’interjection dans un espace traductologique élargi permettant de contribuer à repenser, dans la continuité de notre travail, la définition linguistique de ce phénomène dans les langues
Whether it is considered as part of the language or on its borderline, the interjection has always attracted the scientific attention. Today, the study of interjection includes a vast field of disciplines. Its crucial role in communication is no longer in doubt: interjection is indeed inscribed in the discourse, and its functions are diverse. In this thesis work, we study interjection as one of the marks of orality in a written text, on the example of the French and Russian comics, the aim being also to apply the translatological conclusions to the interjection theory. This contrastive analysis allows not only to define various techniques of its translation, ranging from literal translation to adaptation or compensation, but also to enrich the linguistic theory of interjection by confirming its conventional character, on the one hand, its resemblance to the sentence and its functional aspect. In complementarity with the linguistic and translatological approach, we are particularly interested in the study of the plasticity of the interjection: the visuality being a determining factor in the construction of the meaning of the interjection which introduces the interrogations on the poetics of the interjection and the elaboration of the style through the interjection. Finally, this work leads to some interesting perspectives, especially on the comparison of the translation of the interjection in several language pairs: this study of the interjection in a broader traductological space allowing to contribute to reconsider, in the continuity of our work, the linguistic definition of this phenomenon in languages

Cette thèse a pour objet l'étude du sémantisme des impressifs japonais (les onomatopées et les idéophones). La polysémie de ces mots consiste à exprimer l'amalgame d'impressions qui se constitue à partir de plusieurs informations perceptives et elles apparaissent comme métaphore synesthésique. Malgré l'existence des radicaux ayant une motivation lexicale, le lien qui existe entre la forme morpho-phonologique d'un mot et la notion exprimée par ce mot reste important; ce lien est dû à l'iconicité. Deux particules "to" et "ni" jouent aussi un rôle sémantique crucial. Lorsqu'un impressif est suivi obligatoirement de "to", cette particule est un élément morpho-prosodique. En revanche, certains impressifs redoublés et accompagnés de "to" facultatif expriment l'état dynamique d'un phénomène. "NI" est, quant à lui, une particule qui marque le résultatif. Dans le cas où un impressif peut s'employer avec l'une ou l'autre des particules, elles sont chargées d'un rôle de modalisateur : "to" exprime le procès d'un phénomène (dynamisme), tandis que "ni" désigne le résultatif (statisme). Ces deux notions qui semblent opposées en premier lieu renvoient à la notion fondamentale de continuité
The present thesis seeks to explore the semantics of Japanese ideophones (onomatopoeia). The inherent polysemy of these words consists in expressing the mixture of impressions that are formed from various perceptive information sources and they appear as a synesthetic metaphor. Despite the existence of lexically-motivated radicals, the link that exists between the morpho-phonological form a word and the notion expresses by that word remains important. This link is due to iconicity. Two particles "to" and "ni" play a crucial semantic role. When it is compulsory for "to" to follow an ideophone, this particle is considered as a morpho-prosodic element. Conversely, some reduplicated ideophones are accompanied by an optional "to" and they are used to express the dynamic state of a phenomenon. The particle "ni" is employed to mark the resultative. Furthermore, if an ideophone may be used with one of these particles, they take on the role of a modal adjunct : "to" expresses the process of a phenomenon (dynamicsà, whereas "ni" indicates the resultative (statics). These two notions -at first sight conflicting- refer back to the fundamental notion of continuity

La littérature chinoise contemporaine, presque inconnue il y a une trentaine d’années en France, commence aujourd’hui à occuper une place que l’on ne peut plus ignorer. Notre étude, qui présentera d’abord un panorama de la traduction et de la réception de cette littérature en France (1981-2012), s’efforcera ensuite d’explorer en détail des aspects techniques de la traduction : étudier les stratégies mises en place, mettre en valeur les efforts tentés par les traducteurs et analyser des difficultés et problèmes de traduction existants. Une telle recherche descriptive et analytique portera sur six objets de traduction, qui constituent toutes des défis traductologiques : “graphie et dessin des caractères chinois’’, “jeux de mots’’, “proverbes’’, “xiehouyu’’, “onomatopées’’ et “discours direct sub-libre’’, ceci dans le cadre de trente-quatre traductions de sept écrivains contemporains : Mo Yan 莫言, Su Tong 苏童, Yu Hua 余华, Bi Feiyu 毕飞宇, Chi Li 池莉, A Cheng 阿城 et Jia Pingwa 贾平凹. L’exploration des stratégies s’effectuera dans une approche dialectique qui va bien au-delà des dichotomies théoriques opposant radicalement l’auteur et le lecteur. En étudiant convergences, diversités et complexités de pratiques, nous tenterons d’apporter un éclairage sur des facteurs qui influencent ou régissent l’agir du traducteur, et ceci de façon ciblée selon chacun des six objets étudiés. Loin de vouloir dresser une liste des inadéquations, pertes ou erreurs de traduction, ou encore donner des injonctions, nous espérons attirer l’attention sur les réelles contraintes ou difficultés que les traducteurs du chinois rencontrent durant leur travail, et susciter des occasions de réflexion
Chinese contemporary literature, while almost unknown thirty or more years ago in France, begins to occupy a place we can non longer ignore. In the present work, after presenting a panorama of the translation and the reception of this literature in France (1981-2012), we will try to explore in detail some technical aspects of its translation : strategies used by the translators and the efforts they make when facing translation problems. Being a descriptive and analytical research, it will deal with six translation objects : “spelling and image of Chinese characters’’, “wordplay’’, “proverbs’’, “xiehouyu’’, “onomatopoeia’’ and “sub free direct discourse’’, taking into account thirty four translations of seven Chinese contemporary writers : Mo Yan 莫言, Su Tong 苏童, Yu Hua 余华, Bi Feiyu 毕飞宇, Chi Li 池莉, A Cheng 阿城 and Jia Pingwa 贾平凹. The analysis of different strategies will be done in an dialectic approach which aims to overcome theoretical dichotomies opposing radically the author and the reader. While studying convergences, diversities and complexities of methods, we will try to shed light on factors that influence or govern the choices of the translator, in a targeted manner, according to each of the six studied objects. Far from establishing a list of unsuitable choices, losses and translation mistakes or issuing instructions, we wish to draw attention to the real constraints or difficulties that translators of the Chinese language come across during their work, and offer opportunity for thought

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Secretaria da Educação do Estado de São Paulo
Oral communication reigned absolute since the dawn of civilization until, with the cultures development, the emergence of writing revolutionized the way knowledge was recorded and preserved. In the quest to better understand the dichotomy between oral communication and writing, this paper discusses the linguistic peculiarities present in hinterland spontaneous language. Thus, it was decided to use as the corpus of the analysis in this thesis the tale Meu tio o Iauaretê, from the author João Guimarães Rosa (JGR), a natural of Minas Gerais, whose protagonist Tonho Tigreiro supposed metamorphoses into a jaguar that kills enemies merging revenge, hatred and regret, making use of an oral blending linguistic phenomena characterized by neologisms and onomatopoeia. From the review of the production of scholars on the subject as Preti, Bakhtin, Marcuschi, Ullmann among others, the objective of this study could be summarized in the following question: Which signs of orality present in the analyzed text feature the ordinary and everyday speech of the countryman and what are the most frequent linguistic peculiarities in there? Among the findings, it is observed that JGR celebrates cultural diversity and combat, by the language used in the text treatment, the possible biases in ordinary speech so common in the free use of orality and writing in everyday language practice, which also proposes a review of concepts like right , wrong , appropriate for the use of the language in certain communicative moments
A oralidade reinou absoluta desde os primórdios da civilização, até que, com o desenvolvimento das culturas, o surgimento da escrita revolucionou a forma como o conhecimento passou a ser registrado e preservado. Na busca de melhor compreender a aparente dicotomia entre a modalidade oral e a escrita, este trabalho discute as peculariedades linguísticas orais presentes na linguagem espontânea sertaneja. Assim, decidiu-se utilizar como corpus de análise desta dissertação o conto Meu tio o Iauaretê, do mineiro João Guimarães Rosa (JGR), cujo protagonista Tonho Tigreiro supostamente se metamorfoseia em onça mesclando vingança, ódio e arrependimento, valendo-se de uma oralidade que mistura fenômenos linguageiros caracterizados por neologismos e onomatopeias. A partir da revisão da produção de estudiosos do tema como Preti, Bakhtin, Marcuschi, Ullmann entre outros, o objetivo do estudo pôde ser sintetizado na seguinte indagação: Quais marcas de oralidade presentes no texto analisado caracterizam a fala cotidiana e corriqueira do sertanejo e quais são as peculiaridades linguageiras mais frequentes? Entre os achados, verifica-se que JGR exalta a diversidade cultural e combate, mediante o tratamento linguístico utilizado no texto, possíveis preconceitos à fala corriqueira tão frequente nos usos livres da oralidade e da escrita na prática cotidiana da língua, o que faz rever posicionamentos acerca de conceitos como certo , errado , apropriado quanto ao uso da língua em determinados momentos comunicativos

On a analysé la manifestation de sémiotiques signifiantes dans une sémiotique biplane, la langue portugaise brésilienne, avec le but d’y vérifier la possibilité de manifestations de semi-symboles. Les analyses ont été distribuées dans trois catégories linguistiques, la phonético-phonologique, la rhétorique et la prosodique ; et dans trois catégories visuelles, l’eidétique, la topologique et la chromatique. En fait, l’enquête a été surtout concentrée sur les caractéristiques articulatoires, acoustiques, prosodiques, sur la couleur, la forme et le jeu de direction des signifiants sonores dans des chaînes discoursives dans lesquelles le sens véhiculé par la forme d'expression supplantait les valeurs purement stylistiques. La première partie de la thèse présente les fondements théoriques et la méthode de recherche et dans la deuxième se sont déroulée les analyses et les discussions sur les semi-symboles manifestés en textes humoristiques et poétiques issus du contexte culturel brésilien moderne et postmoderne. Pour vérifier l'hypothèse selon laquelle les semi-symboles se manifestent en tant que des phonèmes dans des sémiotiques biplanes, il ont été mené des analyses sur onze poèmes appartenant à neuf auteurs adeptes de styles littéraires différents, sur deux sketches tirés de l’Os Trapalhões, sur deux extraits de la bande dessinée de la Mônica et sur deux autres du Helmer Fudd, sur un extrait du feuilleton O Bem Amado et sur un monologue comique du comédien Shaolin. Pour bien mener les analyses, on a présenté un modèle opératoire proposé pour la description logico-structurelle des manifestations semi-symboliques dans les ensembles signifiants étudiés. On a élucidé les corrélations entreprises par le biais des notions de motivation, conventionnalité et arbitrarité entre des catégories d’expression et du contenu dans une dimension verbale parfois syncrétique. La recherche a ratifié des distinctions entre langage formelle et langage molaire, elle a mis en évidence la distinction entre les rapport terme à terme et catégorie à catégorie dans les formes et substances des plans sémiotiques délimitant les frontières entre signe linguistique, symbole, semi-symbole et symbolisme phonétique en plus de discuter le rôle de la répétition et du contexte pour la mise en place du sens semi-symbolique. L’étude a révélé en outre qu’avant de parler sur semi-symboles, le rapport de motivation entre le signifiant et le signifié avait déjà été touché, grosso modo, en termes de symbolisme phonétique par la Phonostylistique et même avant cela avait déjà été touché, entre autres, par Platon (dans un certain degré linguistique), dans le Cratyle ; par Humboldt en termes de motivation picturale, symbolique et analogique ; par Guiraud en termes de motivation interne et externe au système linguistique ; par Saussure en termes de motivation intralinguistique, c’est-à-dire, en tant que moyen de formation de mots et renouvellement du lexique concernant de plus près les classes des onomatopées, des conjonctions et le processus de composition morphologique. Il est avéré que tant la motivation comme la conventionnalisation coproduisent et coopèrent à la fois au processus de semiosis. Enfin, il a été constaté que la manifestation semi-symbolique est possible dans des sémiotiques biplanes à partir de formes d’expressions de la même nature comme de nature syncrétique aussi bien
The manifestation of signifying semiotics was analyzed in a biplane semiotic, the Brazilian Portuguese language, with the aim of verifying the possibility of manifestations of semi-symbols. The analyses were distributed in three linguistic categories, the phonetic-phonological, prosodic, rhetoric; and in three visual categories, eidetic, topological and chromatic. Indeed, the investigation was mostly focused on the articulatory, acoustic, prosodic characteristics on the color, shape and on the direction play of the sound signifiers in the discursive chains in which the meaning conveyed by the form of expression surppasses the values purely stylistic. The first part of the thesis presented the theoretical foundations and the method of research and in the second part was performed the analysis and the discussions about the semi-symbols manifested in humorous and poetic texts outcome from modern and postmodern Brazilian cultural context. To test the hypothesis that the semi-symbols occur as phonemes in semiotic biplanes, it was analyzed eleven poems from nine authors who are followers of different literary styles, two sketches drawn from Os Trapalhões, two extracts from the cartoon Monica’s Gang and two others from Helmer Fudd, an extract from the soap opera O Bem Amado and other from a Shaolin’s stand-up comedy show. To perform the analysis, it was proposed an operating model for the logical-structural discription of the semi-symbolic manifestations in the studied signifying ensembles. It was elucidated the correlations engages through the notions of motivation, conventionality and arbitrariness between categories of the expression and the categories of content of a verbal dimension sometimes syncretic. The research ratified distinctions between formal language and molar language, it highlighted the distinction between the relation term to term and category to category between forms and substances of the semiotic plans delineating the boundaries between linguistic sign, symbol, semi-symbol and phonetic symbolism in addiction to discussing the role of the repetition and context for the setting of semi-symbolic meaning. The study also reveals that before talking about semi-symbols, the relation of motivation between signifier and signified had already described grosso modo in termes of phonetic symbolisms by Phonostylistics and even before that it had also touched by, amongst others, Plato, in the Cratylus (in a certain language degree); by Humboldt in terms of pictorial, symbolic and analogical motivation; by Guiraud in terms of internal and external motivation into linguistic system; by Saussure in terms of intralinguistic motivation, i.e., as a meand for word formation and renewal of the lexicon touching closer to classes of the onomatopoeias and of the conjoctions and the process of morphological composition. It was evident that both the motivation and the conventionalization co-occur and cooperate to the process of semiosis. Finally, it was found that the semi-symbolic manifestation is possible in biplane semiotics as from forms of the expression of same nature as syncretic nature as well
Tratou-se da análise da manifestação de semióticas significantes, em uma semiótica biplana, a língua portuguesa, com o objetivo de aí verificar a possibilidade de manifestações de semissímbolos. Distribuíram-se as análises em seis categorias linguísticas, a fonético-fonológica, a prosódica e a retórica; e em três categorias visuais, a eidética, a topológica e a cromática. Na verdade, a investigação foi concentrada principalmente sobre as características articulatórias, acústicas, prosódicas, sobre a cor, a forma e o jogo de direção dos significantes sonoros em cadeias discursivas nas quais osentido veiculado pela forma da expressão suplanta os valores meramente estilísticos. Na primeira parte da tese, apresentam-se os fundamentos teóricos e o método de investigação e na segunda realizaram-se as análises e as discussões sobre os semissímbolos manifestados em textos humorísticos e poéticos retirados do contexto cultural brasileiro moderno e pós-moderno. Para verificar da hipótese de que os semissímbolos se manifestam como fonemas em semióticas biplanas, foram analisados onze poemas de nove autores seguidores de estilos literários diferentes, dois esquetes retirados de Os Trapalhões, dois excertos dos quadrinhos da Turma da Mônica e dois outros do Elmer Fudd (Hortelino Troca-Letras), um fragmento da novela O Bem Amado e outro de um espetáculo solo do comediante Shaolin. Para realizar as análises, apresentou-se um modelo operatório para a descrição lógico-estrutural das manifestações semisímbólicas nos conjuntos significantes estudados. Elucidaram-se as correlações empreendidas por meio das noções de motivação, convencionalidade e arbitrariedade entre categorias de expressão e categorias de conteúdos de uma dimensão verbal por vezes sincrética. A investigação ratificou distinções entre linguagem formal e linguagem molar, tornou patente a distinção entre relação termo a termo e categoria a categoria entre formas e substâncias dos planos semióticos delimitando as fronteiras entre signo linguístico, símbolo, semissímbolo e simbolismo fonético além de discutir o papel da repetição e do contexto para a configuração do sentido semissimbólico. Revelou, ainda, que antes de se falar em semissímbolos a relação de motivação entre o significante e o significado já havia sido descrita, grosso modo, em termos, de simbolismos fonéticos do lado da Fonoestilística e mesmo antes disso já havia sido tocada de certa maneira, entre outros, por Platão em o Crátilo (em certo grau linguístico); por Humboldt, em termos de motivação pictórica, simbólica e analógica; por Guirraud, em termos de motivação interna e externa ao sistema linguístico; por Saussure em termos de motivação intralinguística, ou seja, como expediente de formação de palavras e renovação do léxico tocando mais de perto as classes das onomatopeias, das conjunções e os processos de composição morfológicos. Ficouevidente que tanto a motivação como a convencionalização coocorrem e concorrem para o processo de semiose. Por fim, se constatou que a manifestação semissimbólica é possível em semióticas biplanas a partir de formas da expressão de mesma natureza como de natureza sincrética também

In this thesis the onomatopoeias and mimeses in Korean are analyzed. The question of a classification of onomatopoeia and mimeses as some part of speech is discussed after the definition of onomatopoeias and mimeses. In Korean, onomatopoeia and mimeses are mostly considered as adverbs, while in Czech as interjections. The last approach is to create a new part of speech of onomatopoeias and mimeses only. There are four specific conditions of Korean onomatopoeias and mimeses, which is a sound symbolism, reduplications, a specific word formation and typical syntactical functions and a limited compatibility. At least two of the conditions should meet to classify a word to be onomatopoeia or mimesis in Korean. Afterwards the question of quantity of onomatopoeia and mimeses in Korean is presented on an excerption from Korean and Czech dictionary. It was observed, that the quantity of Korean onomatopoeia and mimeses is based expecially on its variability. The main formal features of Korean onomatopoeias and mimeses are presented with several examples. The sound symbolism of vowels and consonants, the various kinds of reduplication, the word forming processes and the syntactical functions are discussed respectively. In the other part the question of distribution of onomatopoeias and mimeses in Korean compare to...

碩士
輔仁大學
翻譯學研究所
96
Abstract The study aims to generalize the translation strategies for Japanese Onomatopoeia in children’s picture books through theories and practical translation works. Picture books are using pictures as the story content of the books, designed for preschool or school-age children. In picture books, the pictures are as important as the text, sometimes are even more important than the text. There are a lot Onomatopoeia appeared in Japanese Picture books, and this part is found to be the most difficult point on translating. The study first analyzes the practical strategies applied in 10 books that are translated by 5 professional picture books translators, sums up the ideal translating strategies as the following: (1) Equivalence, (2) Conversing, (3) Extending (4) Restituting. Finally, the study provides a conclusion by combining the practical strategies and the translation Theories, and may offer some useful suggestions for both translators and researchers.

碩士
銘傳大學
應用日語學系碩士班
99
To begin with, Taiwan and Japan are not only located close to each other but have frequent intercultural exchange. Taiwan has been influenced deeply by Japanese subculture. onomatopia is considered of a distinguished feature of the Japanese language. There is rich onomatopia in Japanese comics. For the reasons mentioned above, we are going to take comic dairy <<uchi no 3 shimai>> for an example. In this thesis, we examine the author''s ways of using, it''s frequency, the translation skills and some disputes in Chinese version. At first, we summarize the forms of onomatopia in <<chi no 3 shimai>>, and the number of each onomatopia been used and it''s frequency etc. After that, sort the onomatopia by its meaning, and analyze which onomatopia is best representing the author’s personal features. And then, find some translation disputes in the Chinese translation. At last, have a survey of the opinions of the advanced Japanese learners about the Chinese translation. The result of the survey is that Chinese learners prefer to choose the type of “ABB” when translating the onomatopia. When it comes to emphasizing repetition , most people choose the type “A來A去”. One the other hand, when the Chinese translate the onomatopia, they are prefer to transliterate it into Chinese characters

Il "Traité de la formation méchanique des langues et des principes physiques de l'étymologie" (1765) di Charles de Brosses presenta una teoria materialistica dell'origine e dell'evoluzione del linguaggio nella quale il significato delle parole è considerato come un'immagine dell'articolazione fisiologica dei suoni. Questa teoria ha influenzato la "Grammaire" (1775) di Condillac e ha svolto un ruolo importante nella nascita di una concezione scientifica del linguaggio.