In dem Beitrag wird eine didaktisch verwendbare Klassifikation der französischen Verben vorgeschlagen. Den Anlaß für mein Vorhaben bildete ein Vergleich der 'Übersichten über die unregelmäßigen Verben' bzw. ' Sonstigen Verben' in den Grammatischen Beiheften verschiedener im Unterricht an allgemeinbildenden Gymnasien der Bundesrepublik Deutschland gebrauchter Lehrwerke. <br /> <br /> Es wird empfohlen, auf die bisherige Einteilung in 'regelmäßige' und 'unregelmäßige' Verben zu verzichten. Nach meiner Definition bilden Verben mit identischen oder weitgehend identischen orthographischen Flexionsmerkmalen eine Verbklasse. <br /> <br /> Der didaktische Nutzen der neuen Klassifikation läßt sich durch einen Vergleich mit der bisher in den Grammatischen Beiheften üblichen Einteilung belegen: <br /> 1) Die Lehrinhalte der Verbalflexion lassen sich reduzieren, wenn Verben mit identischen bzw. weitgehend identischen Flexionsmerkmalen einer Klasse zugeschlagen werden, <br /> 2) Meine Untersuchung hat ergeben, dass die Schüler nicht immer unterstützt werden, Neues mit bereits Bekanntem zu verknüpfen und einen Zusammenhang zwischen Verben mit identischen Flexionsmerkmalen herzustellen. Von jeter wird nicht immer auf das bereits eingeführte Verb appeler verwiesen. Auch die Gemeinsamkeiten der Verben der Klassen atteindre, sentir und offrir werden im lektionsbegleitenden Teil bestimmter Grammatischer Beihefte dem Schüler nicht einsichtig gemacht und damit nicht als Lernhilfe genutzt. <br /> 3) Verben mit identischen Endungen im Infinitiv, aber ansonsten überwiegend unterschiedlichen Flexionsmerkmalen, sollten verschiedenen Klassen zugeschlagen werden, um irrtümliche Verallgemeinerungen zu vermeiden. Für Verben der Klassen élever und considérer wird vereinzelt im Gegensatz zu meiner Empfehlung nur eine Klasse angesetzt. Die Verben der Klasse employer und envoyer werden nicht immer deutlich genug von den Verben auf -AYER abgegrenzt. <br /> <br /> Vielleicht werden die Autoren neuer Lehrwerke die Möglichkeit nützen, mit Hilfe der vorgeschlagenen Klassifikation die Lehrinhalte der Verbalflexion zu verringern, den Lernprozeß abzukürzen sowie das Behalten der Verbformen zu unterstützen.

Thesis (Ph. D.)--Columbia University, 1932. / Vita. Published also without thesis note. The word "eight" in title changed in manuscript to "eighth." Bibliography: p. [xiii]-xx. Also issued in print.

Thesis (Ph. D.)--Columbia University, 1932. / Vita. Published also without thesis note. The word "eight" in title changed in manuscript to "eighth." eContent provider-neutral record in process. Description based on print version record. Bibliography: p. [xiii]-xx.

In this thesis I suggest that the work of the four contemporary poets studied manifests the vital role perceptual experience plays in the creation of literary texts. I engage primarily in the analysis of particular texts in order to argue for a shift in critical focus away from the explicit manipulation or exteriorization of the physical aspects of poetry (for example versification and explicit visual presentation) in order to concentrate on the role sensory aspects of thought play within it. Emphasis is therefore put on the way these poets draw from sensory experience, and the effect this has on the way their poetry functions. A shift away from traditional critical vocabulary is considered necessary in part due to the fact that discussions of the physical aspects of poetry often carry with them a variety of preconceptions concerning the nature of language, thought and the thinking subject. The tendency to pose dividing lines between mind and body, word and image, the physical and non-physical aspects of language has characterized the history of Western thought, and neither literature nor literary criticism have been exempt from the conceptual presuppositions inherent in such binary systems. Here, I consider how the work of Pierre Alferi, Valère Novarina, Anne Portugal and Christophe Tarkos transcends such dualisms, using the analysis of specific works to develop a critical approach that reflects their exploration of the ambiguity of the boundaries that separate different sorts of experience and means of expression. The thesis is therefore structured around the development of three concepts, ‘pensée-vue’, ‘pensée-voix’ and ‘pensée-toucher’, inspired directly by the texts studied, that are intended to indicate the vital role different forms of perception play in both the creation and experience of poetic texts. It is hoped that the development of an approach that emphasizes the connection between thought, perception and creativity will suggest the fertility of a shift in critical focus in domains beyond that of contemporary French poetry.

Contemporary cultural practices sometimes appear dispassionate, distant and clinical—committed to conceptualism or formalism. Yet works by Jacques Roubaud and Jacques Jouet (both members of the Oulipo, a group of experimental writers in France that use formal and mathematical constraints to generate new literary forms) suggest a complex relationship between epistemology and affect. This thesis argues that contemporary literary and artistic projects that appropriate the tropes of clinical procedure and experimental constraint, suggest alternative forms of knowledge that implicate the body and emotions of the experiencing subject. In these projects, affect and emotion travel through reason, logic, system and constraint and are transformed in the process. Therefore any analysis of forms of affect in these works must also consider the procedural and scientific aspect, that which makes them "projects". My research, drawing on recent work that places emphasis on affect, considers these projects as test cases often mediating between a series of dichotomies such as reason/emotion and mathematics/poetry. Curiously it is in the encounter with epistemological systems that the value of affect, embodiment and subjectivity is underscored, and this thesis interrogates the various ways that contemporary projects articulate affect almost despite themselves. By passing through a scientific impulse to inquire about and test the validity of epistemological systems, these projects underscore the role of affect in producing knowledge. This thesis insists on the continued importance of the Oulipo in contemporary culture and seeks to provide a larger, interdisciplinary context for oulipian experimentation by analysing similar works in the visual arts. This thesis has four chapters, each based on the materials that the projects themselves investigate: 1) numbers and mathematics, 2) lists, collection, and census-data, 3) itineraries and travel, 4) weather and meteorology. Projects bear witness to what the poet Lyn Hejinian has called the romance of science: its rigor, patience, thoroughness and speculative imagination (Mirage, 1983, 24) In so doing, these projects reveal forms of affect that only emerge through this 'weird science' as literary and artistic experiments.

An aspect of the Romance languages that defies neat linguistic analysis is tense usage. In particular, students of Romance languages as well as grammarians have found it difficult to provide a consistent explanation for the imperfect - preterite opposition. Two main points of contention concern (i) the question of whether the two forms have an inherent aspectual content and (ii) the structure and role of lexical aspectual information in determining the overall meaning of a sentence. While the attempts at explaining French and Spanish usages of the imperfect and the preterite are numerous, hardly any work has been done in the interpretation of Romanian data. Furthermore, a general assumption that the same form - function opposition holds across Romance languages has led to cross-linguistic differences rarely being examined. I argue that the imperfect and the preterite do have an inherent aspectual content. However, in opposition to previous accounts, I maintain that the preterite does not provide a ‘closed’ viewpoint and that an atelic eventuality described by the verb phrase in the preterite can continue up to the present moment. I propose a description of the imperfect - preterite opposition that includes finer distinctions of lexical aspect based on its constituent stage structure. These finer lexical aspectual distinctions allow the identification of an area of divergence in the use of the two forms in French, Spanish, and Romanian: the preterite was found to be used more widely with states in Romanian than in French and Spanish.

Voltaire's role in the luxury debate, the controversy about civilisation, capitalism, and progress which accompanied the birth of modern consumer society in the eighteenth century, is generally limited to his Mondain and its Défense, and reduced to a hedonist apology for luxury. The thesis sets out to re-examine and refute this. It analyses Voltaire's discovery of commercial societies in Holland and England, and, focussing on the latter, it finds that the apology for commerce became a centralising theme in the Lettres philosophiques, explaining its purpose and coherence. The thesis then turns to Voltaire's apology for luxury in the 1730s, analysing how du Châtelet and Voltaire, having recourse to classic Epicureanism and deist voluntarism, transformed Mandeville's Fable of the Bees into a justification of commercial societies. Close readings of the Mondain and its companion pieces provide further proof that Voltaire's position on luxury was more nuanced than previously assumed. The Siècle de Louis XIV and the Essai sur les moeurs demonstrate the importance of luxury in Voltaire's view of civilisation, which in turn serves to explain the shift in Voltaire's appreciation of Montesquieu. The thesis opposes the claim that in later life Voltaire adopted a Rousseauian view of luxury. Examining Voltaire's later poetry on luxury in light of the analyses offered in the previous chapters, it concludes that his position remained consistent and showed no Rousseauian influence. Concluding with Voltaire's last defence of luxury, his entries 'Luxe' in the Dictionnaire philosophique and the Questions sur l'Encyclopédie, the thesis explains, with the help of the Fragments sur l'Inde, why and how his attitude to luxury seemed ambiguous in the latter work. The thesis thus proves that Voltaire's contribution to the debate was not only sustained, independent, and carefully nuanced, but that the debate itself played a crucial rule in Voltaire's thought and writing.

The aim of this thesis is to explore the comic art of Molière through the lens of empathy and narcissism, and reciprocally, to show that Molière nourishes Western thought about these phenomena, which can be viewed as opposite ends of a continuum. Every personality has some of each, but the unbalanced egoist has excessive self-love and cannot put himself in another's place. The narcissist is omnipresent in Molière's theatre, but has been heretofore unidentified as such in criticism. This work attempts to fill this gap, and accordingly, my corpus encompasses his 33 extant plays. Furthermore, these psychological concepts are inherently theatrical, especially with respect to whether or not spectators recognize themselves in characters on stage. There is a dialectic relation between reconnaissance and empathy or antipathy, and, therefore, laughter. Hence, empathy and narcissism provide a way of looking at characters on stage and at the interaction between the dramatic action and the audience. To explore the former, I investigate endogenous words Molière uses to convey empathy and narcissism; how he portrays empathizers and narcissists visually through their adherence to and breaking of social codes; and how cognition influences their ability to change. For the latter, I demonstrate how early modern querelles surrounding Molière's plays involve these notions; and how his metatheatrical discourses reveal that Molière transports his spectators 'hors de soi': a state that mirrors romantic love and provides pleasure. Taken in this framework, I argue that Molière's work can be seen as anti-narcissistic; if his spectators knew themselves in the mirror he held up, laughing was a means of precluding blind empathy. Thus, employing tools from modern psychology and neuroscience and notions from the seventeenth century, this thesis evaluates how Molière's characters provide us, today, with a means for better understanding the place of narcissism in our occidental world.

Im Mittelpunkt des Beitrags steht eine sprachwissenschaftlich verantwortete Beschreibung der im Französischunterricht auf der Sekundarstufe I zu unterrichtenden grammatischen Kategorien der Verbalflexion. Aufgrund der Mängel in verbreiteten Lehrwerken erscheint es dringend notwendig, nachvollziehbare Empfehlungen zu den Tempora und Modi vorzulegen. Mein Vorschlag richtet sich in erster Linie an Lehrplan- und Lehrwerkautoren. / The following article focusses on the categories of verbal inflection to be included in future courses of French as a second compulsory foreign language. One could assume that the problem of selecting the tenses, modalities and infinite forms to be taught had been resolved for a long period of time. However, a comparison of several curricula from the old and new Bundesländer yield surprising results: There is no absolute correspondence between any two curricula. While one of the curricula prescribes too much, important elements are missing from others. Neglects in curricula can bear consequences on the contents of textbooks of French. In principle, curricula set the selection criteria which every textbook must fulfil before being condoned by the school authorities to be used in class. There seems to be an urgent need for a linguistically accurate description of the grammatical categories of verbal inflection that are to be taught on Sekundarstufe I level. This suggestion is directed at the authors of curricula and textbooks.

On peut qualifier les hyperlivres de matériaux d'enseignement et d'apprentissage innovants bâtis sur une structuration électronique des éléments du savoir. En lieu et place du texte écrit est créée une base de données, dans laquelle le texte, les schémas et le son sont organisés de façon numérique. C'est dans ce lien entre des données habituellement dissociées que réside la plus-value de qualité apportée par le média. L'hyperlivre dont il est question ici prépare les étudiants à la langue de spécialité juridique, ce qui leur permet d'aborder sans trop de difficultés les séminaires de leur cursus intégré de droit français et de droit allemand. De plus, il permet des compléments en auto-formation et en approfondissement des notions abordées dans une discipline qui n'est pas toujours facile d'accès pour les apprenants.