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This study participates in a tendency of Rabelaisian criticism to consider the Pantagruelian text as a weaving of borrowed forms which rcho surrounding discourses. On thrse grounds, we argue that epideictic rloquence, which comprises praise and blame, forms up a network of recognisable passages. This corpus, which, frora the Gargantua to the Quart Livre, brings together pieces eclectic as much in claim as in structure, is tackled from a generic perspective and analysed in light of their common rhetorical components: dispositio, elocutio and inventio. In accordance with the aesthetic of imitation, which informs the making of texts in the Renaissance, Rabelais recasts models available from his predecessors. However, these textual reshufflings, whether it be a matter of early XVIth Century literary compositions or rehabilitated classical works, is effected through parody. But while the re-evaluation through laughter, in the cases of the Gargantua and the Pantagruel, concerns the occasional poetry of the rhetoriqueurs, parody is brought about within the genre itself in the Tiers and Quart Livres, which comprise paradoxical encomia only. Our interest here is in the modes of parody and the conditions for the provoking of laughter in which can be seen the will to reinvigorate a genre, which had by then become strictly codified. From the first two books to the last a certain way of thinking is being established. With conceptual space allowing such great breadth, the paradoxical encomium introduces into epideictic rhetoric contradiction and equivocation, thereby freeing that genre from its formal constraints. This propensity to paradox is significant for the rhetoric of praise and the textual representation of man. And yet, it is through the parody of the epideictic genre and the often grotesque figures it engenders, that Rabelais participates in the oratory genre, - an anthropology indeed, and, as such, a tool to conceive of man - which conveys the highest conception of the human.

Anne de Graville's 1521 translation of Boccacio's epic the Teseida delle nozze d'Emilia was part of a global movement striving to defend and illustrate the French language. The first part of this thesis thus studies the genesis of the defense and illustration of vernacular languages undertaking, while the second part raises theoretical problems regarding the distinction of genres, while putting particular emphasis on the work of Anne de Graville, a generally overlooked writer belonging to the group called "les Rhetoriqueurs". The terms epopee and roman are then studied from a philological angle. This study starts with the hypothesis that, throughout the Middle Ages and the Renaissance, these two words are virtually synonymous. Finally, through Joachim du Bellay's denigrating satire "Le poete courtisan" and in reference to the bipolar model of poet and orator, are studied the specific aesthetics of the courtly poet. (Abstract shortened by UMI.)

This report presents the initaitvies made by teachers in form of questions during four lessons in a highschool class. A class in senior highschool was filmed during six hours with four different teachers. The number of questions and other initiatives were counted. The dialogue was transcribed with CA regarding examples from questioning and dialogue. The study examined how many closed(open and rhetorical questions the teacher initiate. The initiatives from pupils in form of questions where also examined. The aim was to see whether or not there were any gender differences. The result show that the teacher dominate the classroom dialogue with more than 68% of the speech acts and that the closed questions still dominate the classroom. There were no gender differences in the total amount of classroomtime, but in the math session the boys dominated. Regarding initiatives from pupils there were no gender differences, but there were many comments and answers who were spoken out loud in the classroom without any order. The conclusion from this report is that the old patterns with the tacher domination in the classroom communication remains and that there are very few open questions which could benfit dialogue and democatic values.

The works of Edwin M. Duval, especially The Design of Rabelais's "Pantagruel" will act as a springboard for our proposition that Theleme is a New Jerusalem. Through textual analysis of biblical texts and those of Rabelais, we intend to bring to light their intertextual relationships as well as that of certain works pertaining to a New Jerusalem which were of importance during the sixteenth century, namely those of Joachim of Flora, Calvin and Torquato Tasso. / We will begin by presenting a compilation of what has been established about Theleme to date. Following this, we will present Duval's arguments culminating in his two conclusions: firstly, that Pantagruel is a "Christ-Redeemer" for the race of Giants, and secondly, that Pantagruel is an epic of the New Testament. We will then take these conclusions one step further by proposing that just as the New Testament ends with the Book of Revelation, the Rabelaisian cycle Pantagruel-Gargantua is also brought to a close with the advent of a New Jerusalem. / Next, we will present a historical overview of the founding of abbeys up to the time of Rabelais in order to counter the claim that Theleme is an anti-monastery or a counter-abbey. (Abstract shortened by UMI.)

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Scorpion toxins specific for Na+ and K+ channels, have been studied extensively but relatively little has been done on Ca2+ channel toxins. Toxins in the venom of only two South African scorpions P. transvaalicus and P. granulatus have been found to interact with Ca2+ channels. Kurtoxin isolated from the venom of P. transvaalicus inhibits the T and L-type neuronal Ca2+ channels, whereas KLI and KLII (Kurtoxin-like peptide I and II), isolated from P. granulatus, inhibits T-type Ca2+ channel activity in mouse male germ cells. In this study the effects of fractions isolated from the venom of P. granularus on Cca2+ channels in rat ventricular myocytes were investigated by means of the whole-cell patch clamp technique. Fractions of P. granulatus crude venom were isolated with Sephadex G50 columns (fraction I-IV). Fraction III (PgIII) showed a voltage dependent increase of the inward Ca2+ current and influenced the channel kinetics by shifting the voltage dependence of activation towards more hyperpolarizing membrane potentials and decreased the rate of inactivation and deactivation. The time of the current to reach peak was also delayed. PgIII was further separated by HPLC in an attempt to identify the subfraction/s responsible for the agonistic effect. Subfraction I had an agonistic effect similar to PgIII, whereas subfraction II and III, decreased the Ca2+ current. The observed agonistic effect has not been described in the literature. The identification of new peptide structures with unique functions are important in the field of toxin research. Peptides that target Ca2+ channels can be valuable tools to characterize Ca2+ channels. Ca2+ channels in the heart are implicated in a number of pathological disorders like angina, ischemia, some arrhythmias and hypertension. / Thesis (M.Sc. (Physiology))--North-West University, Potchefstroom Campus, 2005.

Among all the works that the literary canon designates as "classics," the works of Francois Rabelais are certainly among those that were most, and for the longest time, censured and transformed by adapters and commentators. / Literature for young readers, an ensemble of texts whose boundaries are defined by the target readership, is a veritable small industry which, having received a boost right after the Second World War, has not stopped growing since 1945. Nonetheless, the practice of adapting classical works in order to make them "accessible" for children has been current since the 19th century. / The adaptations for young readers of Rabelais's Gargantua have been at the intersection of these two phenomena. Censorship is not practiced today like it was at the time of this father of French letters. Nevertheless, the process of adapting a literary work for young readers still consists of suppressing passages in the text, modifying the narrative structure, and adding a significant paratext. Adaptation may also simplify the language, eliminate discrepancies, transform the narrator's point of view, etc. / We have, thus, analyzed significant modifications in four versions of Gargantua adapted for young readers, in order to identify the goals that led to the rewriting of the text. In particular, we have turned our attention to three of these goals: "concern for the young reader's amusement and distraction", "concern for the young reader's education" and "preservation of the young reader's innocence". We have found that five means have been used in order to reach these goals: "adding a paratext", "abridgement of the text", "purification of the language", "simplification of the narrative voice" and "simplification of the language".

This thesis is an examination of the extant psychological treatises of Abu Yusuf Yaqub ibn Ishaq al-Kindi, the ninth century A.D. Arab scholar who was among the first of his race to interest himself in strictly philosophical questions. Al-Kindi's writings were among the first fruits of the translation of Greek philosophical and scientific works into Arabic. It is under that aspect that this thesis approaches his views on soul and intellect - as an instance of the passage of Greek philosophical ideas to the Muslim Arabs. Apart from his specifically Islamic position on the nature and value of divine revelation, nearly all of al-Kindi's ideas on psychology can be traced to Greek sources, and the version of that philosophy with which he was directly familiar was that of the late Greek schools. This thesis is an attempt to understand and present al-Kindi's psychology in the light of the Greek sources from which it was derived.

One can see many poems in the five books of Francois Rabelais. These pieces in verse are sometimes inspired by the "Grands Rhetoriqueurs", or by poets of the like of Clement Marot or Mellin de Saint-Gelais, contemporary to the author. Rabelais reverses and parodies the forms he imitates; likewise these very codified poetic forms are often particularly well-suited to parody. In this case, analyzing the co-text proves to be essential when judging parodies that are often ambiguous and more ludic than they are satirical. Moreover, the poetry encases itself into the work, which in turn follows models of comedy and parody: the comic-epic and the Menippean satire. / Far from being a whim on the part of the author, or a mere nod in the direction of his friends who were poets, Rabelaisian poetry surprises the reader by its variety, which provides a fascinating portrait of the vitality of the poetical debates of the period.