<p>U ovom istraţivanju bavimo se kategorijom koncesivnosti u francuskom, italijanskom i srpskom jeziku. Ovoj kategoriji pristupamo sa stanovi&scaron;ta sintakse i semantike: utvrĊujemo inventar formalnih sredstava i sintakstiĉkih postupaka kojima se koncesivnost formalizuje u posmatranim jezicima, a pritom analiziramo i semantiĉki sadrţaj tih struktura. Cilj ove studije jeste da se najpre ustanove razliĉiti postupci izraţavanja koncesivnosti na svim sintaksiĉkim nivoima, a zatim, u skladu sa kontrastivnim pristupom, da se utvrde i sistematizuju strukturne podudarnosti i nepodudarnosti u francuskom, italijanskom i srpskom jeziku, kao i da se utvrdi stemen semantiĉke ekvivalencije izmeĊu njih. Na teorijskom planu, rezultati ovog istraţivanja objedinjuju postojeća lingvistiĉka saznanja o ovoj problematici, a na praktiĉnom planu moguća je njihova primena u nastavi francuskog i italijanskog jezika kao stranih jezika, kao i u prevodilaĉkoj praksi.<br />GraĊa za ovo istraţivanje ekscerpirana je iz dela napisanih na francuskom jeziku, i njihovih objavljenih prevoda na italijanski i srpski jezik.<br />U prvom delu rada daje se pregled teorijskih stavova francuskih, italijanskih i srpskih lingvista o kategoriji koncesivnosti, kao i o njenom odnosu sa drugim semantiĉkim kategorijama, pre svega sa kategorijom kauzalnosti. U drugom delu rada navodi se inventar konstrukcija i leksiĉkih sredstava kojima se koncesivnost iskazuje u tri posmatrana jezika. Pri tom se pravi poseban osvrt na upotrebu glagolskih naĉina u zavisnim koncesivnim reĉenicama. Centralni deo rada predstavlja deo u kome se ustanovljeni inventar analizira na primerima iz korpusa. Pri tom se posebna paţnja posvećuje onim sredstvima za koja korpus beleţi upotrebe koje do sada nisu zabeleţene u literaturi. Zakljuĉna razmatranja sistematizuju dobijene rezultate, i ukazuju na mogućnosti daljih istraţivanja u ovom domenu.</p> / <p>This research deals with the category of concessionality in French, Italian and Serbian. This category is approached from the point of view of syntax and semantics: the research establishes the inventory of formal means and syntactic procedures by which concessionality is formalized in the languages being analyzed, while the semantic content of these structures is also analyzed in the process. The goal of this study is to first identify various procedures for expressing concessionality at all syntactic levels and then, in accordance with the contrastive approach, to determine and systematize the structural congruences and incongruences in French, Italian and Serbian, as well as to determine the level of semantic equivalence among them. At the theoretical level, the results of this study merge the existing linguistic knowledge on this issue, while at a practical level they enable its application in teaching French and Italian as foreign languages, as well as in doing professional translation.<br />The corpus for this research was complied from literary titles written in French, as well as from their published translations into Italian and Serbian.<br />The first part of the thesis provides an overview of theoretical approaches to the category of concessionality by various French, Italian and Serbian linguistcs, as well as of its relationship with other semantic categories, in particular with the category of causality. The second part enumerates the inventory of constructions and lexical means by which concessionality is being expressed in the three languages being analyzed. In doing so, a particular focus is placed on the use of the verbal category of mood in subordinate clauses of concession. The central part of the thesis is the one in which the identified inventory is analyzed on the examples from the corpus. In this part, a special attention is given to the means found in the corpus the use of which has so far not been mentioned in reference titles. Concluding remarks systematize the results and point at possible directions for further research in this field.</p>

The article explains the origin of the French expression tirer une lettre de change, which is opaque for present-day speakers. Originally, it was the money that was drawn (home) by means of a bill of exchange, but already in the second half of the 16th century the verb tirer "to draw" could also take as a direct object the bill itself, thereby obscuring the original meaning.

Les auteurs francophones vivent et écrivent souvent dans des contextes plurilingues ; ainsi, un des traits marquants des littératures francophones est de placer au cœur de la problématique identitaire une réflexion sur la langue et sur la manière d’articuler les rapports entre la langue et la littérature. La complexité de ces rapports, généralement conflictuels, qu’entretiennent entre elles les langues en contact, donne lieu à la « surconscience linguistique » (Gauvin 1997), caractéristique commune des littératures francophones, qui peut prendre des formes diverses. Quatre romans provenant d’aires francophones fort différentes ont été considérés, ainsi que leur traductions respectives : Les soleils des indépendances de Kourouma, Texaco de Chamoiseau, Les belles-sœurs de Tremblay et Jour de silence à Tanger de Ben Jelloun. Cette étude vise à saisir de quelle façon il est possible de traduire les rapports sociolinguistiques entre les langues. Les difficultés et les stratégies mises en place par les traducteurs italiens ont été analysée grâce à l’élaboration d’un modèle d’analyse qui considère le contexte de la création de l’œuvre ; la représentation de l’œuvre face au public cible ; les signifiés dénotatifs et connotatifs des lexèmes diatopiquement marqués et des néologismes d’auteur ; les techniques de traduction employées. Il s’agit de voir quelle image, éventuellement exotique, a été « fabriquée »pour attirer l’attention des lecteurs italiens ; par quelles techniques les traducteurs ont réussi à véhiculer les signifiés strictement liés à une langue non standard. En somme, la thèse met en relation les études sur la francophonie avec les recherches en traductologie. / Francophone authors often live and write in plurilingual contexts. Reflections about language and the way to articulate the relationship between language and literature are thus very frequent in Francophone literature while treating the identity issue. Complex and controversial relationships among languages in contact give birth to “linguistic overconscoiusness” (surconscience linguistique- Gauvin 1997), which is common in Francophone literature, even if it can have different forms. We take into consideration four novels originitaing from four different Francophone areas: Les Soleils des Indépendance by Kourouma, Texaco by Chamoiseau, Les Belles-soeurs by Tremblay, and Jour de silence à Tanger by Ben Jelloun. This study aims to investigate in which way it is possible to translate different sociolinguistic relations into Italian. Difficulties and strategies used by the Italian translators have been analyzed thanks to a model of analysis taking into account various factors: the context of novel creation; the representation of the francophone novel in the target culture; the connotative and denotative meanings of diatopic words and authorial neologisms; formal techniques of translation. We try to understand which image, possibly exotic, has been built in order to catch the attention of the Italian reader, and by which techniques translators succeed in transposing meanings linked to a non standard language. Finally, this dissertation relates studies in Francophony to research on translation.

Eighteenth-century Paris was the cultural capital of Europe and home to a vibrant network of theatres, not all of which are equally present in modern scholarship. The Comédie-Italienne in particular has frequently been downplayed in historical accounts, and there is no existing work outlining its relationship with its authors. This thesis aims to address this gap through a case study of the Italian author Carlo Goldoni, who began work for the Comédie-Italienne in 1762. His thirty years in Paris hold an ambiguous place in his career: the preface to his autobiography draws attention to France as the site of his authorial glory, but his work for the Comédie-Italienne is dismissed as a failure; a view echoed by many modern critics. This study therefore also sets out to explore this apparent contradiction. Substantial original work on the Comédie-Italienne archives sheds new light on the administration of this theatre, building up the most comprehensive existing account of its finances, audiences and author relations in the 1760s, and situating it in the contemporary cultural field. Dramatic authors are revealed to be at the heart of tensions between symbolic and financial concerns across eighteenth-century theatrical Paris. This re-evaluation also provides a new context for understanding Goldoni’s equivocal account of his Parisian career. He desired a glorious image in posterity, yet the Comédie-Italienne’s collaborative production and lack of publication thwarted the reputation-shaping tactics he had developed in Italy. The only weapon that remained was his French Mémoires (1787), in which he consciously constructed his image and the claim of Parisian glory. Goldoni’s case also raises broader questions about the creation of literary gloire, and the fate of the cosmopolitan artist in a strange land. In modern France, Goldoni is remembered as a famous foreigner, not the Frenchman he believed he had become. The thesis concludes that this failure in posterity stems from his misunderstanding of how to achieve gloire in his French context: to rely on artificially created image alone is not enough, and yet Goldoni had no choice.

Cette étude a pour but d’analyser les représentations peintes – mais aussi, à chaque fois que cela était pertinent pour le propos, les dessins, les photographies et les sculptures – des campagnes d’Italie de 1800 et de 1859. L’approche comparative de ces deux événements met en parallèle les héritages et les innovations artistiques d’« un Napoléon à l’autre », en posant à chaque fois la question de la volonté de précision et des connaissances des artistes chargés d’immortaliser les grandes phases de ces conflits, de manière à apporter un regard principalement centré sur les aspects militaires de ces représentations, en recourant notamment à l’étude iconographique. S’il s’agit avant tout d’un travail d’histoire de l’art, s’appuyant sur l’analyse stylistique et sur la réception critique des œuvres, l’approche méthodologique proposée croise d’autres disciplines afin de détailler la conception et l’organisation des œuvres : topographie, stratégie, tactique et, plus largement, d’autres domaines plus spécifiquement liés au patrimoine militaire (uniformologie, emblématique, armement…). Les œuvres sont également confrontées aux objets conservés et à l’histoire militaire qu’elles représentent, afin de comprendre comment les artistes ont conçu leurs productions et sont parvenus à rendre les faits. L’organisation du propos est divisée en trois parties, étudiant successivement la représentation topographique (les artistes se sont-ils rendus sur les lieux, ont-ils cherché à être précis en rendant les paysages et les particularités géographiques ?), le rendu de la bataille (comment la traite-t-on au début et au milieu du siècle, trouve-t-on un véritable souci de faire figurer les bonnes unités aux bons endroits et de tenter de comprendre et / ou de recomposer les manœuvres tactiques ?) et la perception héroïque (comment met-on en valeur le héros d’une époque à l’autre et comment différencier une œuvre au rendu réaliste d’une autre vouée à la glorification ou à l’édification ?). / This work deals with a comparative analysis of military paintings representing the French Italian Campaigns (1800 and 1859), including drawings, photographs and sculptures when it is relevant. The parallel is established between artistic heritages and innovations from “a Napoleon to the other”, asking the artists’ willing of precision and military knowledge when they represented these events, so these works of art are studied in a different way focused on a military approach using iconography. Although the main work is in history of art, based on the analysis of formal handling and critical reception, the methodology resorts other sciences in order to examine the artworks composition and organisation in details: in that way, artworks are confronted to topography, strategy, tactic and also military heritage testimonies (uniforms, emblems, weapons…) and history they aimed to show. The work is divided in three parts, successively studying topographical representation (did the artists travelled to see the places and did they represented precise and recognizable geographical details?), the way of painting battles (how fights were figured at the beginning and in the middle of the 19th century, can regiments and tactical manoeuvres be identified correctly?) and heroic perception (how heroes were showed in 1800 and in 1859 and how artworks can be ranked, between glorification and realistic representations?).