Detalhes bibliográficos
| Ano de defesa: |
2014 |
| Autor(a) principal: |
Fontes, Mario Augusto de Souza
 |
| Orientador(a): |
Zanotto, Mara Sophia |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Linguística Aplicada e Estudos da Linguagem
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| Departamento: |
Lingüística
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| País: |
BR
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| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/13672
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Resumo: |
This thesis examines the vocal and visual links involved in emotion expression by developing a perceptual and acoustic experiment whose main objective is investigating the functions of the gestural prosody (vocal and visual) in the appraisal of seven basic emotions (Anger, Distaste, Fear, Happiness, Joy, Sadness and Shame) and valence (positive, neutral and negative). Its specific objectives are twofold: investigating the role of the vocal and visual gestures in identifying the basic emotions and discussing the interaction between the visual, vocal and semantic dimensions in the evaluation of the utterances constituting the research corpus so as to explore the links between gestural prosody and emotive expression. The research hypothesis is that there will be differences in the interpretation if visual or vocal cues are considered in isolation or together and that depending on the nature of the emotion or the semantic load of the utterance the visual or the vocal aspects will have a stronger influence on perceptual judgments. The relations between gestural prosody and emotional expression are investigated with the following analytical procedures and methods: acoustic analysis by means of measures extracted by the ExpressionEvaluator Script developed by Barbosa (2009); perceptual evaluation tests applied to a group of 34 judges using the Gtrace developed by MCKeownetal (2011) to identify valence (positiveness or negativeness) and a set of 7 basic emotions (joy, happiness, anger, shame, fear, sadness and distress); visual gestural description based on a visual profile which takes into account facial movements and their directionality; description of the voice quality settings by means of the application of the VPAS developed by Laver and Mackenzie (2007) as adapted to Portuguese by Camargo and Madureira (2008). The correlation among the variables was made by non-parametric tests applying the FAMD, MCA, PCA,HCPC and MFA methods. The results indicate that the VPAS variables Raised Larynx and High Pitch and the acoustic measures mednf0 and quan995f0 had a stronger influence in the correlations between the vocal gestures and the emotional expression. As evidences of the variables which emerged with wider significance and showed their strength in the formation of utterance clusters, vocal gestuality was interpreted in terms of metaphors of the emotions expressed in speech. The analysis of the role of the vocal and visual gestures in the identification of valence and emotions showed that VPAS variables and the Expression Evaluator measures were quite influential. VPAS had a weight to represent the vector space of the variables under study. Our hypothesis related to the integration between the semantic and vocal and visual dimensions were confirmed. Both visual and vocal prosody interact with the semantic domain, emphasizing or changing the semantic load of the utterances. The differences concerning the interpretation of visual or vocal cues taken in isolation or together were pointed out. It was also found that the identification of emotions and valence varied depending on the emotion category or on the specificity attributed to valence. As a conclusion the contributions of this work to evaluate the communicative relevance of the voice qualities in the expression of emotions in speech and the utterances better representing the analyzed emotions were discussed and the path taken in building up the work was traced |
