Academic literature on the topic 'Sambuca lincea'

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Este trabalho estuda a função metalingüística em letras de samba, sob três diferentes formas: metassambas, sambas metapoéticos e sambas metalingüísticos propriamente ditos; também se faz uma discussão sobre a abrangência da metalinguagem, além de sua relação com o metadiscurso, a intertextualidade e conceitos afins.
This is a study on metalinguistic function in samba lyrics, under three diferent ways: metassambas, metapoetic sambas and metalinguistic sambas; Also, a discussion is carried on about the scope of metalanguage, as well as its relationship with metadiscourse and, intertextuality and cognate concepts.

A partir da noção sociocognitiva de língua, texto e gênero do discurso, bem como do processo de referenciação (KOCH, 2009b, CORTEZ, 2003; TEDESCO, 2002, RONCARATI, 2010), o presente trabalho tem por objeto de estudo o samba-enredo (ou samba de enredo), cuja origem é o samba, sendo este um ritmo trazido pelos negros africanos escravizados no Brasil. A partir de um corpus formado por 161 letras de samba-enredo (abrangendo um período que se estende de 1954 a 2010) que trazem como tema alguém ou algo relacionado ao universo africano e/ou afro-brasileiro, ou que pelo menos tangenciem a questão da negritude e afrodescendência, desejamos atingir três objetivos no decorrer dessa pesquisa, quais sejam: a) observar como ocorre o processo de referenciação, isto é, como o referente negro (ou outro termo semanticamente próximo) é ativado, reativado ou desativado em 129 cadeias referenciais, que é um construto linguístico-cognitivo relevante para a formação dos sentidos de um texto; b) quantificar a frequência da temática africana e/ou afrodescendente nos sambas selecionados; c) observar com que frequência um SN complexo é utilizado para introduzir uma cadeia referencial, de modo a imprimir uma marca argumentativa na forma de referir escolhida pelos autores do texto
Based on the sociocognitive notion of language, text and discourse gender, as well as the process of referentiation (KOCH, 2009b, CORTEZ, 2003; TEDESCO, 2002, RONCARATI, 2010), the present research focuses at samba-enredo (or samba de enredo, a kind of musical poem to be sung during the Samba Schools Parade, in Brazil), which is one of the variations of samba, a musical rhythm brought by African black people from different nations during the slavery centuries in Brazil. We gathered a corpus containing 161 samba-enredo compositions (covering a period that starts in 1954 and ends in 2010). These texts have someone or something that belongs to the African or Afro-Brazilian world, or, at least, they should mention these issues. Thus, it is our aim to achieve three objectives throughout this research: a) to observe how the process of referentiation is unfolded, that is, how the referent negro (black), or any other semantically close word, is activated, reactivated or desactivated in 129 referential chains, which are a relevant linguistic and cognitive construct to the meaning of a text; b) to quantify the frequency of African and/or Afro-Brazilian issues in the selected lyrics; c) to observe how often a complex NP (noun phrase) is used to introduce a referential chain, so that an argumentative mood is impressed on the lexical selection carried out by the writers of the songs

Este é um estudo das características lexicais das composições de sambistas pioneiros do Rio de Janeiro, a partir de uma perspectiva discursiva alicerçada na constituição de um corpus representativo da sua produção lítero-musical. Tal corpus contém composições de três artistas nascidos na primeira década do século XX: Paulo da Portela, Ismael Silva e Cartola. A realização da tarefa é embasada em estudos culturais e históricos sobre o samba e o Rio de Janeiro na transição entre os séculos XIX e XX; em técnicas da Linguística de Corpus; em princípios teóricos da Análise do Discurso; em princípios teóricos e técnicas dos Estudos Lexicais (lexicologia, lexicografia e terminologia). O trabalho tem o propósito de contribuir para a investigação das características lexicais da letra de samba, especialmente nas composições típicas das primeiras décadas do século XX, que representam o período inaugural do samba urbano carioca. Adicionalmente, nele se apresentam o universo discursivo do samba, em suas práticas e valores, assim como as características textuais dos sambas do período
This is a study of the lexical characteristics of songs created by samba composers in Rio de Janeiro, from a discoursive perspective based on a corpus which is representative of their musical production. The corpus contains compositions of three artists who were born in the first decade of 20th century: Paulo da Portela, Ismael Silva and Cartola. The acomplishment of such task was based on cultural and historical studies about samba and Rio de Janeiro during the last decades of 19th century and the first decades of 20th century; on Corpus Linguistics techniques; on principles of Discourse Analysis; on techniques and principles of lexical studies (lexicology, lexicography and terminology). The purpose of this work is to contribute to the investigation of lexical characteristics of samba lyrics, specially in compositions which are typical of the early 20th century, an important period in the development of urban samba of Rio de Janeiro. Furthermore, the discoursive universe of samba is also presented, in its practices and values

O presente trabalho tem como objetivo central estabelecer uma visão crítica do ensino de Língua Portuguesa, em dias atuais, apontando aspectos teóricos e práticos importantes, no processo de ensino/aprendizagem, e propostas de análises estilísticas das canções de Nei Lopes e Arlindo Cruz. Reiteram-se alguns aspectos funcionais do idioma, associando-os às situações comunicativas, com vistas à formação do cidadão linguístico. Investigam-se os recursos expressivos presentes em 10 letras de cada compositor, constituindo-se, assim, o corpus da pesquisa. Para as análises teóricas, revisitam-se os princípios da Estilística propostos por Nilce SantAnna Martins, Manuel Rodrigues Lapa, dentre outros, descrevendo o conceito de estilo, a representação da afetividade na linguagem, o valor da expressão, as marcas da subjetividade. Indicam-se o percurso do samba na cidade do Rio de Janeiro e as raízes do gênero musical. Destacam-se a identidade cultural do povo carioca e a importância dos compositores estudados, quanto às representações linguístico-culturais. No decorrer das análises, consideram-se as composições como Sambas que dão aulas, material produtivo para se aprender vários conteúdos da língua materna
The present work aims at establishing a critical view of the teaching of the Portuguese language, indicating the important theoretical and practical aspects, in the teaching/learning process, and the proposals of stylistic analyses of Nei Lopes and Arlindo Cruzs songs. Some functional aspects of the language are reiterated in association with communicative situations, aiming at the formation of the linguistic citizen. Expressive resources present in ten songs of each composer are investigated, building, thus, the corpus of the research. For the theoretical analyses, the Stylistics principles proposed by Nilce SantAnna Martins, Manuel Rodrigues lapa, Marcel Cressot, among others, are revisited, describing the concept of style, the representation of affectiveness in the language, the value of the expression, the marks of subjectivity. The trajectory of the samba in Rio de Janeiro city and the roots of the musical genre are indicated. The cultural identity of the carioca people and the importance of the composers studied, concerning the linguistic-cultural representations, are highlighted. Throughout the analyses, the compositions such as Sambas that Teach are considerece productive and pleasant material to approach the mother tongue

This chapter traces the history of Brazilian music in Los Angeles, covering the journey of the collation of rhythms known as samba into the rest of the Americas, to the emergence of bossa nova as a major cultural force, to the post-bossa Brazilian sound in the United States. It argues that as music moves, it operates according to its own logic. Influences are fluid: a bossa nova rhythm can morph easily into a second line, a two step can slide into a samba, and writing music is, thankfully, a far more interesting way to write history than history writing. But it is undeniable that, since the late 1930s, the language, swing, and palette of Brazilian music have influenced the world and changed music in the city of Los Angeles profoundly, while very few of us noticed.

This work newly proposes an uncertainty quantification method named SAMBA PC (Sparse Approximation of Moment-Based Arbitrary Polynomial Chaos) that offers a single solution to many current problems in turbomachinery applications. At the moment every specific case is characterized by a variety of different input types such as histograms (from experimental data), normal PDFs (design rules) or fat tailed PDFs (for rare events). Thus, the application of UQ requires the adaptation of ad hoc methods for each individual case. A second problem is that parametric PDFs have to be determined for all inputs. This is difficult if only few samples are available. In gas turbines, however, the collection of statistical information is difficult, expensive and having scarce information is the norm. A third critical limitation is that if using Non-Intrusive Polynomial Chaos methods the number of required simulations grows exponentially with increasing numbers of input uncertainties: the so-called ‘curse of dimensionality’. In this work it is shown that the fitting of parametric PDFs to small data sets can lead to large bias and the direct use of the available data is more accurate. This is done by propagating uncertainty through several test functions and the CFD simulation of a diffuser, highlighting the impact of different PDF fittings on the output. From the results it is concluded that the direct propagation of the experimental data set is preferable to the fit of parametric distributions if data is scarce. Thus, the suggested method offers an alternative to the maximum entropy theorem to handle scarce data. SAMBA simplifies the mathematical procedure for many different input types by basing the polynomial expansion on moments. Its moment-based expansion automatically takes care of arbitrary combinations of different input data. SAMBA is also numerically efficient compared to other UQ implementations. The relationship between the number of random variables and number of simulation is linear (only 21 simulations for 10 input random variables are required). It is shown that SAMBA’s algorithm can propagate a high number of input distributions through a set of nonlinear analytic test functions. Doing this the code needs a very small number of simulations and preserves a 5% error margin. SAMBA’s flexibility to handle different forms of input distributions and a high number of input variables is shown on a low pressure turbine blade based on H2 profile. The relative importance of manufacturing errors in different location of the blade is analyzed.