The author's Habilitationsschrift--Universität München. / Includes bibliographical references (p. [218]-224).

Thesis (doctoral)--Universitet i Lund, 1996. / Includes bibliographical references (p. 332-352). Also issued online.

Thesis (doctoral)--Universitet i Lund, 1996. / Includes bibliographical references (p. 332-352).

No description available.

<p>These at times somewhat mathematical studies are not intended as a complete survey of the style of Phaedrus' Fables, but represent, it is hoped, useful contribution to our knowledge of the work of an otherwise rather obscure figure.</p> <p>I. Phaedrus seems often to have used haterodyne ("ictus"accent clash) effectively to convey agitation, surprise, speed, and the like, and homodyne to convey the opposite, though there is no good evidence of patterning like that knight thought to have found in the Aenid. (The predominance of heterodyne in the mock-tragic 4.7.6-16 is however, probably due to factors of genre.)</p> <p>II. (There is less va:riation in prota.gotists in the second part of book 1 than in the first-- this is a field for durther investigation)</p> <p>Verse-endings are repeated less and less in the later books in a fairly smooth progression which supports the present order.</p> <p>III. Words occurring only once in Phaedrus' work are relatively rare in book 1 and in prologues and epilogues. Poems high in such "once-words" tend not to be beast fables and are on average longer, while poems low in these words, when not prologues or epilogues, are beast-fables or jokes.</p> <p>IV. Phaedru.s' use of Greek words increased with time, but this largely be due to a. change in the type of poems. Possible particular occasions for using Greek words (apart from unavoidable instances, such as the names of certain animals) seem to be insincerity/ deceit, riches, glorification, hyperbole, Greek settings, and possibly alliteration. Phaedrus introduced few new Greek words, if any, and the overall proportion of Greek words in his vocabulary is low in comparison with other poets.</p> <p>V. Phaedrus uses "unpoetic" words to a fairly high degree, though less frequently in narrative than in direct speech and personal material. He also has some words characteristic of poetry and shows sensitivity to certain "rules" of poetic speech, and his vocabulary could not be confused with that of a prose-author. Not unexpectedly, he is closer in vocabulary to "low" poetry (such as satire) than to "high" poetry (Such as epic).</p> <p>VI. Phaedrus seems to have been conscious of certain rhyming effects or homoeoteleuta, notably between the final 'words of successive verses (a type he cultivated in book 4 especially, but seems to have avoided in book 5).</p> <p>VII. Alliteration is generally used sparingly by Phaedrus, who seems to have avoided extreme concentration of alliterative verses. It occurs with slightly greater frequency in narrative, and also appears to have been employed somewhat less in Phaedrus' middle work generally. There is some indication of preference for particulr alliterative patterns (e.g. avoidance of the concentric pattern).</p> <p>VIII. Only tentative observations are possible on the structure, if any, of the books. The numerical approach seems somewhat more promising than the thematic (book. 5 in its present form is numerically balanced).</p> <p>IX. About one eighth of Phaedrus' poems are exactly seven verses long, ®d this may have represented for him an ideal minimum length. Babrius, on the other hand, does not favour this length, but shows instead a strong preference for even numbers of verses. Avienus' poems do not vary greatly in length, but do not favour any exact figure.</p> / Doctor of Philosophy (PhD)

No description available.

Children of Italian immigrants in Montreal are in contact with many languages and kinds of speech. French and English are used publicly, formal Italian is studied in heritage classes, a dialect of the family's region of origin is used at home, and a kind of koine is frequently used in interactions with other Italian immigrants. The contact of these languages produces various kinds of interferences. These lead a child to make errors when he tries to use the Standard Italian code. In this research, children's compositions are examined for errors which in turn are analysed and classified. The causes of these errors are investigated and statistics are presented to indicate the frequency of errors or the power of various causes. / An effort is made to show all the different errors and interferences that occur, and to discover a pattern of their causes. The data put forth might eventually serve as a base for further studies on the pedagogical prevention or correction of errors in the teaching of Standard Italian as adapted to the specific situation in Montreal.

In the 1950s, countless letters were sent from family members in Italy to their sons or daughters, brothers or sisters, and husbands or wives who had emigrated earlier to Canada. / This research is a study of nineteen letters written in Italy between 1954 and 1955. These letters, written in the language known as "l'italiano popolare," are the primary source from which stems a linguistic analysis. As well, a brief overview of "l'italiano popolare" follows in addition to a synopsis on popular letters and on the sociohistorical circumstances surrounding Italy at the time in which the letters were written.

Thesis (doctoral)--Zürich, Universität, 2007. / Includes bibliographical references (p. 193-204).

Thesis--Université de Paris III, 1974. / Includes indexes. Includes bibliographical references (v. 2, p. 933-965).