This study seeks to answer the following research questions: which stereotypical linguistic profile characteristics and/or typical linguistic profile characteristics, if any, can be found in the old film and the new film respectively? Does the time difference between the films seem to have affected the female characters’ language use, if so in what way? Works by Lakoff (2004), Coates (2004) and Holmes (2013) are used to create a profile for stereotypical female speech and a profile for typical female speech. These profiles are applied to the transcripts of two Disney Princess films; one old film representing the classical Disney Princess films, and one new film representing the modern Disney Princess films. In order to suit this study all non-conversational utterances such as singing, and non-human utterances, are removed from the transcripts. The features are counted and then converted to frequencies of 1 feature per 100 words, in order to account for the differences in amount of words uttered. The results show that stereotypical features as well as typical features are present in both films. However, the old film contains more stereotypical features than typical features, and the new film contains more typical features than stereotypical features. Therefore, it would appear that the old film presents a more stereotypical image of women than the new film. Furthermore, the results indicate that power relations, and not just gender differences, play an important role in both films. The importance of these power relations would benefit from further investigation in future studies.

This study is devoted to five Irish language texts composed in the period between 9th and 21st centuries: four prose tales, an Old Irish tale Loinges Mac nUislenn (The Exile of the Sons of Uisliu (before 10th c.)), two Middle Irish texts Toruigheacht Dhiarmada agus Ghrainne (The Pursuit of Diarmaid and Grainne (c. 12thc.)) and Tochmarc Etaine (The Wooing of Etain), an 18th century Romance of Mis and Dubh Ruis, and a narrative poem Mis published by the contemporary Irish poet Biddy Jekinson in 2001. It examines the heroines of these texts, Derdrui, Grainne, Etain, and Mis, focusing particularly on their roles in the development of their respective narratives and their influence on the overall message of their texts. The texts share a strong connection in that they all, in a more or less direct way, touch upon the female experience reflected in their leading female characters, yet none of them, except for Jenkinson's poem, focuses expressly on representing female characters. Instead the texts use these characters as a means for the elaboration of male characters, reinforcing at the same time the contemporaneous patriarchal viewpoint, thus creating the ideological scheme of the text. Jenkinson's Mis reveals the underlying narrative force of these traditional female characters. It uses a traditional tale to create a new narrative which is re-centered on its female character, thus narrativizing its inherent strength. Beneath their explicitly assigned roles, the female characters in question serve as powerful narrative agents. Their impact transforms the overt ideologies of their respective narratives so that they diverge from the traditional role of the conveyors of conventional values. The examination of the female characters concentrates particularly on the effect their speech has on the development of the narrative. Although modestly represented in the discussed texts, the female words nevertheless subvert the explicit ideologies of their text by the introduction of skepticism as to the objective values suggested by the texts, thus allowing for a conversation with the prevalent discourses and in the end for the consideration of alternative discourses. The dissertation employs Mikhail Bakhtin's theory of dialogism and heteroglossia, as well as his examination of the Bildungsrom, which allows for the theoretization of the connection between the texts, as well as for their re-interpretation. / Celtic Languages and Literatures

La présente étude a pour but d'analyser le discours féminin francophone dans les textes d'Assia Dejbar,de Calixthe Beyala, d'Aminata Sow Fall et de Nedjma. L'intitulé de la recherche rend compte de deux concepts majeurs: l'interlangue et la radicalisation. Nous fondons notre réflexion en trois grandes paries, la première, définit l'interlangue et interroge l'existence ou non d'objectifs communs à son utilisation par les femmes romancières. La deuxième partie, analyse à travers de nouvelles approches théoriques et critiques sur la langue, les romans Nulle part dans la maison de mon père, Femme nue, femme noire, La Grève des bàttu et L'Amande. La troisième partie quant à elle, traite de la notion de radicalisation par la mise en évidence de la langue du corps, reflétée dans l'ensemble de l'écriture. La lecture des textes littéraires a permis de les scinder en deux catégories. D'une part, il y a les romans qui fustigent et luttent au moyen d'une langue pudique et réservée, et, d'autre part, ceux qui dénoncent et s'affirment, à travers une langue extrêmement transgressive et violente. / The present study aims at analyzing the female speech in the texts of Assia Dejbar, Calixthe Beyala, Aminata Sow Fall and Nedjma. The title of the research accounts for two major concepts: interlanguage and radicalization. We base our reflection on three main bets, the first one, defines the interlanguage and questions the existence or not of objectives common to its use by women novelists. The second part, analyzes through new theoretical and critical approaches on language, novels Nowhere in my father's house, Naked woman, black woman, The strike of the battu and the almond. The third part deals with the notion of radicalization by emphasizing the language of the body, reflected in the whole of writing. The reading of the literary texts allowed to divide them into two categories. On the one hand, there are novels that lash and fight by means of a modest and reserved language, and, on the other hand, those who denounce and affirm themselves, through an extremely transgressive and violent language.