De nos jours, nombreux compositeurs s’inspirent de la science comme point de départ pour la création, bien qu’il n’est pas possible une normalisation de facto des pratiques détectables. Quelles dispositions cognitives et implications formelles minimales participeraient d’un passage transférentiel quelconque d’un modèle de la science vers un modèle musical pendant les pratiques créatives d’un compositeur ? Compte tenu de la question précédente, quelle approche analytique et méthodologique le musicologue envisageant à étudier les œuvres issues de ces pratiques compositionnelles devrait-il adopter ? La première partie de la thèse vise à construire le cadre théorique et analytique pour répondre ces deux questions. À cet égard, le discours invoque la Théorie des Modeles des mathématiques, la linguistique cognitive pour discuter les questions liées à la métaphore, et la notion de « métamodèle » des études en informatique et cognition.Étant données les questions de recherche, la thèse touche l’œuvre de auteurs espagnols en tant que cas d’étude pour ainsi tester ses postulats méthodologiques : d’une part, le castillan Alberto Posadas (Valladolid, 1967) ; d’autre part, le catalan Hèctor Parra (Barcelone, 1976). Le premier compositeur s’inspire notamment des mathématiques pour écrire sa musique : la thèse analyse la manière dont Posadas se sert de la géométrie fractale pour composer. Le deuxième compositeur emprunte des modèles de la physique et de la biologie : la thèse met l’accent sur ses pratiques créatives inspirées par les théories abiogénétiques de Cairns-Smith. L’analyse génétique de la musique est l’outil méthodologique employé à cette fin. / It is a fact that some composers find inspiration in science, but this fact is not at all normalized. What minimal cognitive dispositions and formal implications take part in any transferring from a scientific model to a musical one during composers’ creative practices? Given the previous question, what methodological and analytical stands should the musicologist take in order to efficiently address the study of musical works originating from those practices? The goal of this thesis is to develop the methodological and analytical frame in order to answer both questions. For that purpose, the discussion summons mathematical Model Theory, conceptual metaphor from cognitive linguistics and the term “metamodel” from computer and cognition studies.Those issues also lead to the three analysis of the work of two Spanish composers to test the theoretical proposition: Alberto Posadas (Valladolid, 1967) and Hèctor Parra (Barcelona, 1976). The first finds often his inspiration in mathematics: the dissertation analyses the way he uses fractal geometry to compose. The second one borrows inspiration from physics and biology: the thesis focuses on his creative practices linked to Cairns-Smith’s abiogenetic theories. Genetic analysis of music is the main methodological tool used for this purpose.

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Выпускная квалификационная работа посвящена изучению когнитивных метафор в дипломатическом дискурсе. Данный феномен рассматривается на примере речи официального представителя Министерства Иностранных Дел Российской Федерации Марии Захаровой. Теоретическая глава содержит описание дипломатического дискурса как феномена, смежного с другими дискурсами (политическим, масс-медийным, военным, юридическим), а также перечисление лингвистических особенностей дипломатических текстов. Автором также представлены основные положения теории концептуальной метафоры. В практической части исследование проведен лингвокогнитивный анализ метафор в речи российского дипломата Марии Захаровой. Выделены разные типы социоморфных, ориентационных, антропоморфных, артефактных метафор, которые получают когнитивную и лингвоаксиологическую интерпретацию. Выявлены наиболее частотные метафорические модели (метафоры искусства, войны, пути). / The final qualifying work is devoted to the study of cognitive metaphors in diplomatic discourse. This phenomenon is considered on the example of the speech of the official representative of the Ministry of Foreign Affairs of the Russian Federation Maria Zakharova. The theoretical chapter contains a description of diplomatic discourse as a phenomenon related to other discourses (political, mass media, military, legal), as well as a list of linguistic features of diplomatic texts. The author also presents the main provisions of the theory of conceptual metaphor. A linguocognitive analysis of metaphors in the speech of Russian diplomat Maria Zakharova was conducted in the practical part of the study. Different types of sociomorphic, orientational, anthropomorphic, and artifact metaphors are identified. They receive cognitive and linguo-axiological interpretation. The most frequent metaphorical model revealed (metaphors of the art, metaphors of war, metaphors of the way).

English speakers use the concept of "darkness" in a number of metaphors to portray a wide variety of experiences from evil to fear to ignorance. These metaphorical connections or entailments are so natural that we can see an image of a dark-clad person in a film or book and usually be correct in assuming that they are at best questionably moral and at worst a villain. The Old Testament (OT) also employs dark images and dark imagery to various effects. From Job's description of the underworld in Job 3 to Isaiah 's description of the coming light that will dispel the darkness in Isa 8- 9, to the dark paths the wicked trod in Eccl 2:14, the OT uses a number of metaphors of darkness. For most of these examples, it would be easy to assume that the ancient Hebrew writers of the OT were working with the same concepts of darkness that we do today and thus interpret these passages along the same lines as our own modem English metaphors. But such assumptions can and have led to a number of misunderstandings and conflicting interpretations of passages that employ dark images. These miscommunications are most apparent in passages where God's presence is indicated by darkness like at the Sinai and Temple theophanies (Exod 20:19-20 and 1 Kgs 8:12, respectively) as well as later poetry about God (Ps 97:2). By combining the theoretical framework of Cognitive Metaphor Theory (CMT), and the methodology of Conceptual Blending (CB), this study will work toward a clearer understanding of how the writers of the OT understood darkness and how that shaped their use of it in their images and imagery of death, captivity, the unknowable, and God. It will be shown that the ancient Hebrew conception and use of darkness centres around three key recurring metaphors - Death is Darkness, Captivity is Darkness, and the Unknown is Darkness - while the metaphor Evil is Darkness is foreign to the OT. These findings serve to provide greater clarity in interpreting those OT passages that portray God as having a penchant for darkness.

This study examines the relationship between the metaphor in the title and the content of T.T. Cloete’s Volume of Poetry titled Met die aarde praat. It will be demonstrated that the volume title as global metaphor is an integral part of the textual element of the text, that it also fulfills a hermeneutical function in respect to the text in that it offers clues and insights into reading and understanding of the poems or volume contents. In light of the aforementioned metaphor theory is investigated on three levels: on a cognitive or conceptual level, on a linguistic/textual level and on a communicative level. The titles and mottos of the eight sections frame the sections as well as refer to themes and provide clues to reading and understanding the individual poems or volume contents. Section titles are framed by the volume title and often interact with the volume title as global metaphor and together. / Afrikaans and Theory of Literature

This study examines the relationship between the metaphor in the title and the content of T.T. Cloete’s Volume of Poetry titled Met die aarde praat. It will be demonstrated that the volume title as global metaphor is an integral part of the textual element of the text, that it also fulfills a hermeneutical function in respect to the text in that it offers clues and insights into reading and understanding of the poems or volume contents. In light of the aforementioned metaphor theory is investigated on three levels: on a cognitive or conceptual level, on a linguistic/textual level and on a communicative level. The titles and mottos of the eight sections frame the sections as well as refer to themes and provide clues to reading and understanding the individual poems or volume contents. Section titles are framed by the volume title and often interact with the volume title as global metaphor and together. / Afrikaans and Theory of Literature