La présente recherche s’interroge sur la présumée dichotomie entre les alternances et les généralisations de surface dans le cadre théorique de la grammaire de constructions. Plus précisément,l’objectif de cette thèse est ternaire. Par l’analyse attentive d’une grande quantité de données, nous faisons une description détaillée de l’alternance causative en anglais (The fabric stretched vs. Joan stretched the fabric), nous proposons une méthode qui permet de mesurer la force d’alternance des verbes ainsi que la quantité de sens partagée entre les deux constructions, et, enfin, nous montrons que si l’on veut rendre compte des contraintes au niveau de la construction, l’on doit alors prendre en compte les généralisations de plus bas niveau, telles que les interactions entre le verbe et ses arguments dans le cadre de chaque construction. Afin d’ajouter au débat entre alternance et généralisations de surface, nous proposons une analyse détaillée des deux constructions qui forment l’alternance causative en anglais : la construction intransitive non-causative d’une part et la construction transitive causative de l’autre.Notre but est de mesurer la quantité de sens partagée par les deux constructions mais aussi démontrer en quoi ces deux constructions diffèrent. Dans cette optique, nous prenons en compte trois éléments: construction, verbe et thème (i.e. l’entité sujette à l’évènement dénoté par le verbe). Nous utilisons la sémantique distributionnelle pour la mesure des similarités sémantiques entre les divers thèmes employés avec chaque verbe dans chaque construction dans notre corpus.Ce groupement sémantique met en lumière les différents sens verbaux employés avec chaque construction et nous permet d’établir des généralisations quant aux contraintes qui s’appliquent au thème dans chaque construction. / The present research takes issue with the supposed dichotomy between alternations on the onehand and surface generalisations on the other, within the framework of construction grammar.More specifically the aim of this thesis is threefold. Through the careful analysis of a largedataset, we aim to provide a thorough description of the causative alternation in English (Thefabric stretched vs. Joan stretched the fabric), suggest a method that allows for a solid measure ofa verb’s alternation strength and of the amount of shared meaning between two constructions,and finally, show that in order to capture constraints at the level of the construction, one mustpay attention to lower level generalisations such as the interaction between verb and argumentswithin the scope of each construction.In an effort to add to the discussion on alternation vs. surface generalisations, we propose adetailed study of the two constructions that make up the causative alternation: the intransitivenon-transitive causative construction and the transitive causative construction. Our goal is tomeasure the amount of meaning shared by the two constructions and also show the differencesbetween the two. In order to do so we take three elements into account: construction, verband theme (i.e. the entity that undergoes the event denoted by the verb). We use distributionalsemantics to measure the semantic similarity of the various themes found with each verb andeach construction in our corpus. This grouping highlights the different verb senses used witheach construction and allows us to draw generalisations as to the constraints on the theme ineach construction.

Typescript. Bibliography: in v. 3.

The autobiographical nature of my work deals with the space between the innocence of childhood and the wisdom of adulthood. I explore the complexities of personal experience, old and new landscapes and the scar tissue of memory. The work deals with beginnings and departures, relationships and conflict of power and vulnerability in the quest to make sense of life. My work connects with moments of childhood that I try to retain as a touchstone for authentic experience. The images are derived from personal and familial experiences, moving through to the universal to tell the human tale, using the human body as a metaphor. The body becomes the subject matter for expressing ideas about our universal and personal concerns. I explore the gulf between the real and the unreal through examining themes such as identity, vulnerability, anxiety, fear, alienation, abandonment, loss, corruption of innocence, love and death within a contemporary urban framework. These emotions are played out against the backdrop of daily domesticity and reflect the physical reality of the world around us, often exposing the contrast between the orderly veneer of our daily lives and our emotional reality. My work methodology uses narrative found in books, films, fairy tales or fables to explore the conflicting emotions which structure human identity and interaction. I use the stories as a way of approaching ideas or emotions and exploiting the story as a focus of cultural knowledge. In the search for emotional truth I draw parallels between my art practice and the search for authenticity within the theatre. My work is an attempt to explain my own creative process in relation to the artists who have influenced me, my childhood, its rich tradition of storytelling and my passion for theatre and literature as well as a search for meaning in my own relationships and life's journey. This is conveyed through a series of paintings and works on paper.

《花間集》是第一部選錄晚唐五代文人詞的總集，是我國現存最古最完整的詞集，以藝術的角度觀之，它的表情特徵，是將某感情審美意象化，以意象疊加多樣化的色彩加諸詞中，使之較能專注著墨於單純的愛與美的形象表現，《花間集》雖不及宋詞之精麗，卻獨具簡古的風格，在中國詞史上具有承先啟後的地位，本文主要分為二個研究方向，一為主題內容，二為感覺意象。茲說明如下： 第一章緒論 說明研究動機與目的，研究方法與範圍，文獻檢討。 第二章《花間集》創作背景與十八家詞人 在創作背景方面，分時代背景及文學背景，說明晚唐五代的時代風氣與文學批評風氣，進而以(花間集》為焦點，說明其風格及文體的傳承，再簡述花問十八家詞人之生平及詞風。 第三章《花間集》主題內容之研究--兒女情愛 《花間集》概分九個主題，即浪漫的情愛，女性的姿態，怨曠與傷逝，離情與別恨，遊仙，詠物，入世的政治態度，出世的理想抱負，邊塞與地方風物等九個主題。浪漫的情愛，女性的姿態，怨曠與傷逝，離情與別恨四個主題主要是描寫世間男女的情感為主，故以兒女情愛標之。浪漫的情愛寫男女之間熱戀時的喜悅，女性的姿態描摹當時女子的美態與才藝，怨曠與傷逝則描寫女子傷春，思念情郎，宮怨，悲秋的情緒，亦有男子思念女子的主題出現，在離情別恨主題上，是《花間集》中數量最多的主題，分別時場景與別後相思二方面，別時場景寫情人夫婦的相別，亦有其他友朋的送別，在別後相思方面，有征婦思夫，閨婦思夫，男子的離情別恨，行人傷別之思等，十分多樣而豐富。本章側重主題的分類，並對同一主題，詞中主人公表現的共同傾向做一概要的分析，使主題更為明確。 第四章《花間集》主題內容之研究--處世情懷 本章是以處世情懷為重，有遊仙主題寫仙凡之間的愛恨嗔痴，有詠物主題詠物本身或借以寄託作者自身的情感，有入世的政治態度主題，呈現花間詞人關心國事，懷古懷鄉的一面，有出世的理想抱負主題，呈現隱逸情懷，有邊塞與地方風物主題，寫作者放曠胸懷，好山好水的景致。這樣的主題，雖只佔花間詞的三分之一，但內容多樣而風格放曠，實突破花間閨帷香豔詞風，開闢另一新風。 第五章《花間集》感覺意象之表現--視．聽覺 五、六章為一單元，為本文另一個重點，本文試以五根為觀察的量尺，即所謂眼、耳、鼻、舌、身（視、聽、嗅、味、膚）五覺，以《花間集》九大主題為觀察的內容，觀察九大主題所使用感覺意象的情形．本章主要觀察視、聽二覺的使用，採統計的方式，以表格的呈現，使讀者能有較為全面的了解。第六章《花間集》感覺意象之表現--嗅．味．膚覺本章以嗅、味、膚覺為觀察量尺，以九大主題為觀察內容，採用圖表統計的方式如前章，並於最末一節對五、六兩章做一總分析，依兒女情愛與處世情懷二大重點，觀察感覺意象運用之異同，再以總體趨勢來看，以呈現《花間集》共同使用最頻繁的感覺意象為何。 第七章結論 由以上數章，約可歸納為如下三個結論，一是開啟婉約、豪放的源流，二是感覺文學的典範，三是濃厚的女性敘寫特質。綜上所述，可知，《花間集》為外貌香豔媚弱，內在輕柔和婉，靈秀清新，純樸自然的詞集，它在愛情多方面的探討，影響了元曲、明傳奇等的萌發興盛。而其在感覺意象的使用，足為後世之典範，其主題內容足開婉約、豪放之先聲，故在中國詞史上，實具不可輕忽的重要參考價值。 文後並有附錄--「《花問集》主題內容一覽表」，是將《花間集》五百首詞，依九大主題而分類，讀者閱讀第五．六章感覺意象時，可依圖表上所附數字，檢閱全詞的內容，特此聲明。

Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2006.

Thesis (Ph.D. (Ethics))--North-West University, Potchefstroom Campus, 2006.

La mia ricerca, che si avvale degli strumenti della letteratura comparata è basata sul concetto di ‘letteratura mondiale’elaborato da Durisin; egli sostiene la possibilità di portare avanti gli studi sullo sviluppo e sull’influenza elaborati da Bloom Bloom secondo cui la comparazione tra diverse letterature può essere effettuata anche in assenza di relazioni.In tale direzione, la ricerca comparatistica non neccessita di dipendere da un spazio geografico o da un periodo storico specifico. Perciò, il confronto tra Svevo e Yi Sang, tra letteratura italiana e coreana può essere un proficuo tema da affrontare mediante tale approccio ermeneutico, anche se non si dispone di alcuna connessione diretta fra i due autori. L’Intento di questa tesi vuole essere quello di offrire qualche ulteriore elemento di riflessione sul significato storico della presenza di Svevo e Yi Sang nella cultura dei rispettivi paesi nel nostro secolo, sul valore permanentemente vivo della loro sconvolgente scoperta sugli spiragli di speranza che il loro ‘messaggio’ lascia ancora aperti, attraverso il tema della psicanalisi; la scoperta è quella della condizione malata dell’uomo del nostro tempo; e la speranza è una sorta di salvezza che potrebbe venire da una doverosa quanto dolorosa necessità di autoanalisi continua e spietata, che riconduca l’uomo nei limiti di una chiara presa di coscienza del suo essere ‘malato’, sì da disporlo ad una comprensione e gestione critica della realtà, attraverso una perlustrazione attenta della propria interiorità, con/senza infingimenti e autoinganni. / My research, which uses the methods of comparative literature, is based on the concept of ‘world literature’ developed by Durisin; he supports the opportunity to pursue studies on the development and influence developed by Bloom from whom the comparison between different literatures can be done even in the absence of relations. Therefore, the comparison between Italo Svevo and Yi Sang, between Italian and Korean literature can be a fruitful issue to be addressed by this hermeneutical approach, even if there is not any direct connection between two authors. The intent of this thesis will be offered some further reflection on the historical significance of the presence of Svevo and Yi Sang in the culture of their country in this century, on the live value permanently of their shocking discovery (especially in the field of arts), on the ray of hope that their ‘message’ still leaves open, through the theme of psychoanalysis; the discovery is the condition of sick of our time; and the hope is a kind of salvation that could come from a painful duty as the need for continuous and ruthless self, which brings the man within the limits of a clear awareness of the importance of his being ‘sick’, so as to arrange an understanding and management criticism of reality, through a careful patrol of its interior, with/without self pretend.

Thèse de doctorat : Littérature française : Metz : 1998. / 1998METZ009L. 925 ref.

No description available.

Dynasties of Demons: Cannibalism from Lu Xun to Yu Hua focuses on the issue of representations of the body in modern Chinese fiction. My interest concerns the relationship, or correspondence between "textual" bodies and the physical "realities" they are meant to represent, particularly where those representations involve the body as a discursive site for the intersection of state ideology and the individual. The relationship between the body and the state has been a question of profound significance for modern Chinese literati dating back to the late Qing, but it was Lu Xun who, with the publication of his short story "Kuangren riji" (Diary of a Madman), in 1918, initiated the literaty discourse on China's "apparent penchant for cannibalizing its own people. In the first chapter of my dissertation I discuss L u Xun's fiction by exploring two distinct, though not mutually exclusive issues: (1) his diagnosis of China's debilitating "spiritual illness," which he characterized as being cannibalistic; (2) his highly inventive, counter-intuitive narrative strategy for critiquing traditional Chinese culture without contributing to or stimulating his reader's prurient interests in violent spectacle. To my knowledge I am the first critic of modern Chinese literature to write about Lu Xun's erasure of the spectacle body. In Chapters II, III and IV, I discuss the writers Han Shaogong, Mo Yan, and Yu Hua, respectively, to illustrate that sixty years after Lu Xun's madman first "wrote" the prophetic words, chi ren A (eat people), a number of post-Mao writers took up their pens to announce that the human feast did not end with Confucianism; on the contrary, with the advent of Maoism the feasting began in earnest. Each of these post-Mao writers approaches the issue of China's "spiritual dysfunction" from quite different perspectives, which I have characterized in the following way: Han Shaogong (Atavism); Mo Yan (Ambivalent-Nostalgia); and Yu Hua (Deconstruction). As becomes evident through my analysis of selected texts, despite their very significant differences (personal, geographic, stylistic) all three writers come to oddly similar conclusions that are, in and of themselves, not dissimilar to the conclusion arrived at by Lu Xun's madman.