La Chanson d’Anseïs de Mes est la quatrième et dernière branche de la Geste des Lorrains. On ne possède actuellement aucune édition complète de cette chanson de geste : la seule que nous ayons est celle d’Herman Green, faite en 1939 sur un manuscrit fautif et sans aucun apparat critique, d’où la nécessité d’une nouvelle édition. Cette édition de la partie inédite permet une série de conclusions qui soulignent l’originalité de ce poème que nous appellerons désormais Anseïs de Gascogne. 1. Cette chanson n’est pas une chanson lorraine, mais picarde ; notre manuscrit présente des traits picards très marqués. L’auteur, linguistiquement un picard, est originaire de cette partie nord de la France qu’il connaît parfaitement. La composition est à situer vers 1255-1260, dans la région picarde qui jouxte la Flandre. 2. Anseïs de Gascogne représente une idéologie nouvelle qui la place à contre courant des autres chansons des Lorrains. Même si elle met en scène les deux lignages ennemis des Bordelais et des Lorrains, l’esprit est totalement différent : Anseïs de Gascogne est une œuvre « engagée » qui vise à la gloire de la Flandre et à l’anéantissement du roi de France et de son royaume, et où les Lorrains sont désavoués. Histoire et fiction se rencontrent dans cette œuvre d’actualité qui clôt une fois pour toutes l’histoire des Lorrains. 3. C’est l’œuvre d’un clerc lettré qui a donné la priorité à l’intelligence et à la culture, avant la prouesse chevaleresque. Cet écrivain de talent a utilisé avec soin toutes les ressources du style épique [laisses, motifs, formules] ; le poème témoigne en outre d’une composition solide, parfaitement structurée et d’une recherche dans l’écriture : peinture réaliste et pittoresque mettant en valeur des personnages bien dessinés, art de suggérer, parfois avec humour, mélange de tragique et de scènes divertissantes qui en font une œuvre d’art. / The Poem of Anseïs of Mes is the fourth and last part of the Geste des Lorrains. There is no complete edition of this epic poem: the only one that exists is the work by Herman Green which was completed in 1939 on an inaccurate manuscript and without any accompanying notes. Therefore a new edition is necessary. The release of the unpublished part would highlight enough evidence of the originality of this poem which will now be called Anseïs of Gascony. 1. This work is not a poem from Lorraine but from Picardy; the manuscript has very pronounced features from Picardy. The author speaks the language and knows perfectly well his native land of Picardy in the north of France. The text can be placed around 1255-1260, in the region of Picardy which is next to Flanders. 2. Anseïs of Gascony represents a new ideology which goes against the prevailing current of the other poems of the Lorrains at the time. Even if it presents the two rival lineages of Bodeaux and Lorraine, the spirit is totally different: Anseïs of Gascony is a "committed" work which aims for the glory of Flanders and the destruction of the king of France and his kingdom and where the people of Lorraine are disowned. History and fiction meet in this topical text which ends once and for all the history of the people of Lorraine. 3. It is the work of a scholarly clerk and gives priority to intelligence and culture, before chivalrous feats. This talented writer carefully used all the resources in writing this epic poem [leads, motifs, formulas]; additionally, this thoroughly researched poem is a well-structured and by all means, a solid piece of work: a realistic picture highlighting characters which are well drawn, the art of suggesting, sometimes with humor, a mixture of tragic and amusing scenes which on the whole form a good work of art.

This dissertation examines the relationship between phonetic sound and content in Latin poetry, with a focus on Books 1-3 of Horace's Odes. The central argument is that a relationship exists between sound and content in poetry, that this can be analysed and described more thoroughly and systematically than is usually the case, and that the appreciation of poetry can be enhanced by doing so. Part 1 presents a scheme for describing the sound-content relationship, and argues that this accurately reflects the perceptions of poetic audiences and is psychologically valid. The scheme begins with the concept of the 'sonance', defined as any set of sounds that renders a passage sonically noteworthy. Sonances that relate to content are classified either as 'harmonic sonances', which relate to content due to the properties of the relevant sounds, or 'repetitive sonances', which relate to content purely due to the repetition (including patterning or contrasting) of sounds, regardless of their properties. Harmonic sonances, it is argued, may relate to content through four 'harmonies', depending on whether acoustic or articulatory properties are involved and whether the relationship is one of similarity between property and content or a more distant 'metaphor'. Repetitive sonances may relate to content by several different means, or 'modes of repetition'. Part 2 presents a simple method of numerical analysis which may be applied to the text by computer to extract passages that are relatively likely to contain a sonance, and briefly discusses the process of assessing these results, identifying further sonances by more natural means, and relating each sonance to the relevant content. As an essential preliminary to such matters, Latin phonetics and phonology are also discussed in detail. Parts 3 and 4 present the results of applying these resources of assessment and description to the text, to demonstrate the type of poetic appreciation which may thus be gained. Part 3 consists of two catalogues of harmonic and repetitive sonances taken from the whole of Odes 1-3. Part 4 is a specific examination of two entire odes in much greater detail. / Thesis (Ph.D.)--Humanities, 2004.

Il lavoro persegue l’obiettivo di raccogliere e analizzare le formule augurali che in Cina vengono veicolate tramite l’omofonia, un fenomeno che all’interno del Cinese Mandarino Standard ha un’incidenza di gran lunga superiore ad altre lingue. I dati sono stati raccolti nel corso di un’indagine di campo a Langfang (Hebei), tra settembre e dicembre 2017, tramite 30 interviste semi-strutturate su un campione tipologico a scelta ragionata, che ha portato alla creazione di un corpus scritto di 217.000 caratteri cinesi, e tramite osservazione. La ricerca ha evidenziato come nella cultura cinese permanga una radicata percezione del valore magico della parola, in grado con la sua sola formulazione di influenzare il corso degli eventi. L’omofonia si fa quindi portavoce di espressioni beneauguranti, con un duplice obiettivo pragmatico: da un lato, fornire rassicurazione psicologica al singolo, dall’altro creare appartenenza sociale, per cui il rispetto dell’omofonia si configura come una forma di adesione al sistema di valori in cui la società si riconosce. Il fenomeno si presenta estremamente dinamico: si evidenziano spinte innovative da parte dei giovani e invenzioni personali, un crescente orientamento verso messaggi augurali positivi, con una re-interpretazione dei tabu, e infine con la tendenza a una formulazione proverbiale. / This study aims at collecting the wishes hidden in Chinese homophonies. The data have been collected during a field search carried out in Langfang (Hebei), between September and December 2017, both through 30 semi-structured interviews to a judgmental sample, resulting in a written corpus of 217,000 Chinese characters, and through field observation. The study points out that a belief in the magical power of words still persists nowadays in Chinese culture. In such a cultural context, homophony conveys good wishes, with a twofold pragmatic aim: on one hand, it provides the individuals with psychological reassurance; on the other hand, it creates social we-ness and the respect of homophony is seen as adhering to the social value system the society identifies itself with. The homophonic phenomenon appears to be extremely dynamic: innovations are provided by the young, personal creativity is allowed, taboos are re-interpreted so that they take on a positive meaning and wishes tend to be formulated as proverbs.