This study applies Sperber and Wilson's relevance theory to the comprehension of figurative language in poetry. Students' understanding of metaphor as a linguistic category and comprehension of metaphorical texts are analysed in terms of the principle of relevance. Patterns of comprehension in English first language (Ll) and English second language (ESL) students' analyses of metaphorical texts are discussed and through an analysis of similarities and differences in these patterns of comprehension an attempt is made to develop a pedagogy around relevance theory. Relevance theory's particular emphasis on the role played by "context" in cognition is seen to have significance for the teaching of literature in South African universities. Relevance theory's account of cognition generates a range of educational principles which could be specifically applied to the teaching of metaphor. An appraisal of the strengths and difficulties students experience in expressing their understanding of metaphor in an academic context is included. This was done to further develop relevance theory into a pedagogical approach which takes into account the academic context in which writing occurs. The investigation of the particular difficulties that English metaphor poses for ESL students entailed acquiring a working knowledge of the ways in which metaphor is taught and assessed in DET schools. The interpretations of students of different linguistic, social and educational backgrounds reveal unifying elements that could be incorporated into a pedagogy based on relevance theory. Such a pedagogy would be appropriate to the multilingual/multicultural/multiracial nature of classes in South African universities and would be a more empowering approach to the teaching of English metaphor.

Dans une approche stylistique, mêlant linguistique de l’énonciation, pragmatique et linguistique textuelle, cette thèse explore l’œuvre romanesque de Boris Vian en interrogeant les relations qu’entretiennent le potentiel imageant du langage et la création de l’univers fictionnel vianesque. En dépassant la perspective qui conçoit le plus souvent la fictionnalisation comme une mise en fiction du réel, ce travail propose un élargissement du concept, également entendu comme création de fiction. Le corpus, volontairement restreint à un genre littéraire (le genre romanesque) et à un auteur particulier, rassemble les six romans signés Boris Vian (production qui s’étend de 1942 à 1953). Ce choix tient à la volonté de caractériser l’œuvre romanesque dans son ensemble tout en mettant en évidence les spécificités de l’évolution du style vianesque. À partir de différents pôles d’analyses, cette étude cherche à comprendre la particularité des fictions vianesques, apportant un éclairage inédit sur le style et l’esthétique de l’auteur. L’étude des procédés langagiers à l’œuvre dans la fictionnalisation, au cœur de ce travail, s’attache progressivement à l’observation des lieux textuels d’entrée et de sortie de la fiction, des jeux langagiers et des figures du discours. Cette recherche examine ainsi les outils récurrents permettant le passage du monde de référence du lecteur vers celui de la fiction.Par un jeu constant avec les normes (que celles-ci soient d’ordre langagiers ou littéraires), le texte vianesque présente un monde souvent déroutant pour le lecteur qui doit alors le « décoder » pour comprendre les nouvelles lois régissant cet univers. Ce travail de thèse propose une nouvelle grille d’analyse pour appréhender la fiction vianesque. / This thesis explores the novelistic work of Boris Vian from a stylistic perspective at the intersection of the linguistics of enunciation, pragmatics and textual linguistics. It focuses on the relations between the imaging potential of language and the Vianian creation of a fictional universe. It broadens the traditional perspective that conceives of fictionalization as putting reality in fiction by considering fictionalization as the creation of fiction. The corpus is restricted to one literary genre (novels) and one author. It includes the six novels written under the name Boris Vian (between 1942 and 1953). This choice is motivated by a willingness to characterize both the Vianian novelistic œuvre in its totality and the specificity of the evolution of the Vianian style. This study uses different analytical perspectives to understand the peculiarities of Vianian fiction and to highlight the style and aesthetics of the author in an original way. The study of the linguistic processes at play in Vianian fictionalization, which is at the center of this thesis, seeks to gradually observe the places in the text where fiction enters and exits, plays on words, and figures of speech. This research scrutinizes the recurring tools which allow going from the reader’s world of reference to the world of fiction. The Vianian text often presents a world that baffles the reader because it constantly plays with various (linguistic or literary) norms. Hence the reader needs to “decode” that world to understand the new laws by which it abides. This dissertation therefore proposes a new analytical perspective to further our understanding of Vianian fiction.

Notre travail interroge l’affinité entre une figure – le paradoxe – et le discours sur les mœurs, tel qu’il s’invente et se développe de Montaigne à La Bruyère : il étudie l’appropriation d’un fait de langue et sa requalification en fait de style. La confrontation des théories existantes sur le paradoxe aux exemples de notre corpus fait apparaître la gradualité de la figure, dont la configuration prototypique connaît des réalisations discursives de forme et d’étendue variables, et dont l’étude stylistique implique l’articulation des points de vue microstructural et macrostructural. En promouvant une approche englobante, continuiste et contextualisée des formes de l’écriture paradoxale, nous soulignons la dimension matricielle du paradoxe, sa propension à constituer, pour les textes que nous étudions, un principe générateur, une forme ordonnatrice : l’étymon d’un style. Nous défendons en effet l’idée selon laquelle le paradoxe constitue un lieu commun de la prose moraliste, c'est-à-dire la forme-sens dans laquelle se cristallisent une éthique et une esthétique, un rapport soupçonneux aux vérités admises et aux discours institués. L’examen des différents usages de la figure et des fonctions qui lui sont dévolues nous permet ainsi d’éclairer les soubassements épistémologiques de l’entreprise moraliste. / Our work reflects upon the affinity between a figure of speech – the paradox – and the moral discourse, as it emerges and evolves from Montaigne to La Bruyère. We study the appropriation of a linguistic form and its revaluation as a stylistic trait. The comparative examination of the theoretical descriptions of the paradox, and their application to our corpus examples reveal the gradualness of the figure, and the variety of its discursive actualizations. By promoting a global, continuist and contextualized approach to the paradox, we stress out its functionality as well as its propensity to shape the reflection and the writing of the classical moralists.

This doctoral dissertation analyses depictions of hell in sanctions, i.e. threats of punishments in Anglo-Saxon charters. I am arguing that an innovative use of sanctions as pastoral and ideological instruments effected the peak of infernal imagery in the sanctions of tenth-century royal diplomas. Belonging to the genre of ritual curses, Anglo-Saxon sanctions contain the three standard ecclesiastical curses (excommunication, anathema and damnation). It cannot be established if other requirements of ritual cursing (authoritative personnel, setting and gestures) were fulfilled. A lack of evidence, together with indications of more secular punishments, suggests that sanctions were not used as legal instruments. Their pastoral function is proposed by frightening depictions of hell and the devil, as fear is an important means of achieving salvation in biblical, homiletic and theological writings available or produced in Anglo-Saxon England. The use of the infernal motifs of Hell as a Kitchen, Satan as the Mouth of Hell and winged demons in sanctions are discussed in detail. Sanctions frequently contain the overtly didactic and pastoral device of the exemplum. Notorious sinners believed to be damned in hell (e.g. Judas) are presented as negative exempla in sanctions to deter people from transgressing against charters. The repeated use of terms from classical mythology for depicting hell in Anglo-Saxon sanctions appears to correlate with the preference for hermeneutic Latin by tenth-century monastic reformers. The reasons for employing classical mythological terminology seem to agree with those suggested for the use of hermeneutic Latin (intellectual snobbery and raising the stylistic register), and glossaries constitute the main source of both types of Latinity. The sanctions of the Refoundation Charter of New Minster, Winchester, which is known to display the ‘ruler theology’ propagated by the monastic reform, are examined in their textual contexts with regard to the observations made in the earlier parts of this dissertation.

This dissertation investigates the validity of the hypothesis that biblical images [imagery] in the narrative model of preaching enhance relevance and recall possibilities of the sermon, filling the open spaces for the listener in a meaningful way. "Imagery" is researched in its application in various genres of the narrative sermon, e.g. the inductive, the narrative as such, metaphor, parable and transformational preaching. In the final analysis, the Midrash hermeneutical model as theoretical exposition and fresh proposition for homiletical possibilities for today was suggested and instruments proposed to aid in the preparaUon of Midrashic narrative sermons. / Philosophy, Practical & Systematic Theology / D.Th. (Practical theology)

1 Abstract The aim of this thesis is to analyze communication functions, verbal and nonverbal means of compliments in Czech which occur in private informal discourse. Material for this analysis was collected from audiovisual and audio recordings of communication between family members and friends. As for the identification of the communication functions of compliments the method of conversation analysis was chosen. Functional classification was created based on the location of compliments in global organization of conversation, linguistic form of compliments and actions that compliments are performing or accompanying. Another part of this thesis is devoted to the analysis of verbal and nonverbal means used at complimenting. The structures, lexical units and the most significant nonverbal means used in the production of compliments were identified. For the purpose of comprehensive description of compliment sequences we also analyze reactions to compliments.

I roto i ngā toru ngahuru tau kua tupu haere ngā kaupapa mātauranga mō te reo Māori mai i te kōhanga reo, ki te kura kaupapa Māori, ki te whare kura tae atu ki ngā whare wānanga Māori. Nā tērā whanaketanga o ngā kura reo Māori i rerekē ai te whakaako. Ka kitea ka huri te reo Māori hei kaupapa ako, ā, nā reira ka nui haere ngā kupu ā-kaupapa. technical language, subject specific Kātahi ka whakaputaina he marautanga reo Māori hei āwhina mā ngā kaiako ki te whakatutuki i ngā whāinga ako i roto i te akomanga. Engari, kāore i kitea te whānuitanga o ngā momo-kōrero i roto i te marautanga reo Māori, ahakoa e tāia ana te manomano rauemi. Kāore i whakanahanaha te takoto i ngā momo-kōrero hei āwhina mā ngā pouako reo Māori. Ahakoa he mea nui tērā inā ka whakaakona te reo matatini literacy ki te reo Māori. Kei te tapanga, He Pātaka Momo-Kōrero, He Kete Momo Kīpeha, ngā whāinga nui o tēnei rangahau mō te reo matatini, mō te mātātuhi literature hoki. Tuatahi, ka whakaemia tētehi huinga momo-kōrero Māori, kātahi ka whakarōpūtia aua momo-kōrero ki ētehi anga momo-kōrero. He tātai momo-kōrero, me kī. Tuarua, ka tīpakohia tētehi o aua rōpū hei āta tātari. Koia ko te kīpeha me ngā anga momo kīpeha. Ka whakaaturia te wetereo, te tikanga, te whakamahia o aua kīpeha ki ngā kupu ake a ngā kaiuru me ētehi tauira mātātuhi. Ka tohea he tino whai pānga aua āhuatanga reo kia mōhio ai te tangata ki te whakakounga i te reo Māori. Ka toko ake ngā kōrero nei i ngā whakawhitinga kōrero a ngā kaiuru 28. Ka arotakea ngā anga reo e tētehi atu rōpū tāngata, tekau nei, kia kitea ai mēnā he whai hua, he whai māramatanga ki te hapori reo Māori. He nui kē atu ngā kōrero ka whakahokia mai mō te kounga o te reo pērā i te aronga Māori, i te kaupapa Māori, i te takotoranga Māori. Heoi, ko tētehi kitenga nui o tēnei rangahau, ki tā te Māori titiro, he wāhanga nui te reo peha kia kounga te momo-kōrero, ā, kei tēnei tuhinga kairangi ētehi whakamāramatanga o aua kīpeha hei manaaki i te mauri ora o te reo Māori.

This dissertation investigates the validity of the hypothesis that biblical images [imagery] in the narrative model of preaching enhance relevance and recall possibilities of the sermon, filling the open spaces for the listener in a meaningful way. "Imagery" is researched in its application in various genres of the narrative sermon, e.g. the inductive, the narrative as such, metaphor, parable and transformational preaching. In the final analysis, the Midrash hermeneutical model as theoretical exposition and fresh proposition for homiletical possibilities for today was suggested and instruments proposed to aid in the preparaUon of Midrashic narrative sermons. / Philosophy, Practical and Systematic Theology / D.Th. (Practical theology)

O presente trabalho realiza um estudo sobre o estilo literário do apóstolo Paulo, mais precisamente no que se refere ao uso de expressões enfáticas nas homologoumena, i.e., as epístolas cuja autenticidade não é renunciada na academia. A pesquisa busca estabelecer um entrelace entre Teologia, Linguística e Ciências da Religião. À luz da Análise do Discurso e por meio de uma pesquisa bibliográfica a fim de entender quem foi Paulo sua formação em Tarso, sua personalidade, aprendizado em Jerusalém, sua vida como fariseu , pretende-se assimilar as razões que levaram o apóstolo a adotar um estilo enfático e tão peculiar em relação aos demais autores do Novo Testamento. Ademais, apresenta-se uma nova taxonomia para as quatro categorias de expressões analisadas, i. e., a Epáuxese, a Hipértese, a Hipérbole e a Hipéroque. Tais expressões foram tratadas como subcategorias de uma figura de linguagem a qual estamos chamando de Hiperbolismo. O trabalho está dividido em três capítulos: no primeiro, é discutida a intensidade do discurso paulino com base na ocorrência de verbos compostos e advérbios de intensidade; no segundo, discute-se a noção de emotividade no discurso paulino, a partir da ocorrência de hipérboles e expressões de autoexaltação; no terceiro, busca-se explicar as razões que levaram Paulo a adotar um estilo enfático. Por ora, conclui-se que não é possível explicar o uso frequente de hiperbolismos, ao longo das homologoumena, por apenas um viés. Há várias questões envolvidas, não excludentes, mas complementares entre si / This paper makes a study on the literary style of the apostle Paul, more precisely regarding the use of emphatic expressions in the homologoumena, i. e., the epistles whose authenticity is not denied in scholarship. The research seeks to establish points of contact between Theology, Linguistics and Religions Sciences. In the light of discourse analysis and by means of a bibliographical research in order to understand who was Paul his education in Tarsus, his personality, his training in Jerusalem, his life as Pharisee - , it is intended to assimilate the reasons which led the apostle to adopt a so peculiar and emphatic style than the other New Testament authors. Moreover, it is presented a new taxonomy for the four expressions categories analyzed, i. e., epauxesis, hyperthesis, hyperbole, and hyperoche. Such expressions were taken as subcategories of a figure of speech that we are calling hyperbolism. The paper is divided in three chapters: in the first one, it is discussed the intensity of the Pauline discourse based on the occurrence of compound verbs and adverbs of intensity; in the second, it is discussed the notion of emotionality in the Pauline discourse from the occurrence of hyperboles and self-exaltation expressions; in the third, it is sought to explain the reasons which led Paul to adopt an emphatic style. For now, it is concluded that it is not possible explain the frequent use of hyperbolism, along the homologoumena, in just one way. There are several issues involved, which do not exclude themselves, but are complementary

Cette thèse porte sur le pamphlet au XVIIIe siècle, à travers une étude de ses formes stylistiques et la rhétorique du genre - à l’exemple de l’affaire Calas. Nous avons opté pour une crise religieuse, relevant de l’engagement littéraire d’un écrivain, autour d’un axe événementiel, propice à l’apparition d’une production pamphlétaire. Notre analyse s’est orientée vers un détour lexicographique des différentes étapes, menant le pamphlet à son acception actuelle. Ce terme, apparu en 1842 avec P.-L. Courriel, constituait un anglicisme chez Voltaire, et se manifestait dans une multiplicité de formes connexes. Notre hypothèse considérait le pamphlet comme un genre littéraire à part entière, aux côtés des formes canoniques. Nous avons décrit et analysé les dimensions structurelles du pamphlet pour dégager ses traits définitoires. C’est à partir de l’analyse spécifique de notre corpus, et tout en évitant de plaquer un modèle préétabli, que nous avons dégagé une structure typologique propre au pamphlet. Nous avons repéré, dans un corpus délimité, des réseaux de genres et sous-genres, à partir de la répartition statistique des traits grammaticaux, et des procédés rhétoriques et stylistiques. Ainsi, il s’est avéré que celui-ci recélait dix dimensions structurelles : pragmatique, énonciative, polyphonique, intellective, idéologique, axiologique, passionnelle, stylistique, et rhétorique ou argumentative. En empruntant à la rhétorique et à la stylistique certains de leurs instruments conceptuels, nous avons démontré que les écrits relatifs à l’affaire Calas répondaient potentiellement à la définition moderne du genre, proposée par M. Angenot et O. Ferret. Certaines caractéristiques définitoires nous ont permis d’admettre l’existence du pamphlet avant son apparition officielle, et donc l’existence de sa pratique avant sa théorisation. / The current work deals with pamphlet in XVIIIth century. It concerns the stylistic and the rhetoric forms of this literature’s kind as the Calas case by Voltaire. This religious crisis showed the implication of a writer and which probably led to the emergence of the pamphlet. Our analysis was based on lexicographical study and which aimed to plot the different steps that have led the pamphlet to its current meaning. The term pamphlet appeared in 1842 with P.-L. Courriel and was considered by Voltaire as an Anglicism and which was appeared in several related forms. Our hypothesis considers the pamphlet as a full independent literary genre, alongside the canonical forms. We tried to analyze and describe the structural dimensions of the pamphlet to reveal its defining lines. By a specific analysis of our instance case and without applying a pre-established model, we provided a specific typological structure to the pamphlet. Based on a delimited corpus and using the statistical distribution of the grammatical traits and the rhetoric and stylistic processes, we were able to identify networks of literary genres and subgenres. By this analysis we showed that there are ten structural dimensions: pragmatic, enunciative, polyphonic, intellective, ideological, axiological, passionate, stylistic, and rhetoric or argumentative. According to the conceptual features of rhetoric and stylistic, we showed that relative papers to Calas case were potentially in accordance with the modern definition of pamphlet as proposed by M. Angenot and O. Ferret. Some of the defining characteristics admit the existence of the pamphlet before its official appearance, and thus the existence of its practice before its theorization.