本論文觀察台灣地區國語閩南口音，也就是俗稱的「台灣國語」中展現的單元音化以及擦音卸解現象，建立「台灣國語語料庫」作為本論文分析的基礎，並且從優選理論的觀點探討這些台灣國語音韻現象。 根據「台灣國語語料庫」的數據顯示，韻核後介音 /j/ 以及 /w/ 容易被語者刪除，韻核前介音 /j/ 以及 /w/ 則傾向被語者保留。輕擦音 /f/ 在台灣國語中常被卸解為 /hw/。 本文的分析認為，國語閩南口音是一種方言的變異，反映了閩南語以及國語的部份制約排序。當語者表現出明顯的閩南語口音時，反映出閩南語的部份制約排序；而語者的閩南語口音較不明顯時，則反映了國語的部份制約排序。 / This thesis investigates monophthongization and fricative reconfiguration in the Taiwanese Accent of Mandarin (TM), and establishes the TM corpus as the base of phonological analysis. The Optimality Theory approach is adopted to account for the phonological phenomenon of TM. As indicated by the TM corpus, the postnuclear glides /j/ and /w/ tend to be deleted in TM; the prenuclear glides /j/ and /w/ tend to be preserved in TM; and the fricative /f/ tend to reconfigurate as /hw/ in TM. Our analysis considers that TM is a dialectal variation which reflects the subgrammars of Taiwanese and Mandarin. When the speaker shows a clear Taiwanese accent, the partially ordered ranking of Taiwanese is reflected; and when the speaker shows no obvious Taiwanese accent, the partially ordered ranking of Mandarin is reflected.

This study is in the area of terminology activities in Zimbabwe and it analyses the term creation used in the following selected specialised terms dictionaries: Duramazwi Reurapi Neutano (Dictionary of Biomedical Terms), Duramazwi Remimhanzi (Dictionary of Shona Musical Terms), and Duramazwi Redudziramutauro NeUvaranomwe (Dictionary of Shona Linguistic and Literature Terms). The study specifically analyses and explores how terminographers together with health, music, language and literature specialists made use of their term creation skills and strategies in the creation of new specialised terms for the field of music, health and linguistics. In addition, this research takes into account the impact of factors such as culture, socio- economic, etymological purity, attitudes of the target users, language policy, as well as availability of resourceson term creation. Hence, term creation is an exercise that involves many aspects and interlinked factors. This research advances the argument that while some term creation strategies (compounding, coining and derivation) can be adequate and appropriate, however, at times; they are some which result in created terms that are rather cumbersome, vague, artificial, and difficult to master and remember. In addition, this study found out that some term creation strategies (semantic expansion and loan translations) are unproductive; that means they do not add any value on the Shona language vocabulary. Moreover, the borrowing term creation strategy was analysed on the basis of whether it is promoting and elevating the Shona language or is it undermining its value and vitality. This study emphasises the need for a collaborative approach to term creation, with terminologists, linguists, subject area specialists and target language users during the different phases of word formation processes for the collective ownership of the created term and their acceptability to the target users. This study highlights that, through good term creation strategies the Shona Language can significantly contribute to the promotion and development of Shona language in Zimbabwe. Overally, the research yields a substantial amount of information in the terminological formation processes as well as the identification of factors that can be used to improve term creation strategies in order to develop indigenous languages for use in all spheres of life.The major contribution of this study is the identification and highlighting of the major strength and weaknesses of term creation strategies as a way of developing indigenous languages. The useful findings in this study will benefit the indigenous language development and language policy planners and terminologists in Zimbabwe and other African languages in similar situations. The significant amount of information about term creation that was used in the analysis of term creation in the three dictionaries was solicited from questionnaires and interviews that were carried out with linguists, the specialised dictionary compilers, music students, medical students and high school students doing Shona language and literature subject in Zimbabwe. More information on the term creation was done through content analysis of the three specialised dictionaries and the present researcher’s own experiences as a former Shona high school teacher, linguist and above all as a Shona language speaker. / African Languages / D. Litt. et Phil. (African Languages)

L’enseignement du lexique arabe à l’Institut supérieur des langues de Damas n’est pas encore à la hauteur des attentes de l’apprenant pour lui fournir une bonne connaissance lexicale. Les outils pour développer ce travail n’ont pas évolué dans les méthodes utilisées. Dans ces méthodes, on applique toujours l’approche classique du lexique. Cette approche n’est plus valable au moment où le critère de fonctionnalité lié à la notion de fréquence a commencé à avoir sa place dans la nouvelle conception du lexique. Ce projet de thèse vise donc à contribuer à l’enseignement de l’arabe langue étrangère à l'Institut supérieur des langues en profitant des recherches faites pour l'enseignement d’autres langues vivantes, et spécialement celles qui s’inscrivent dans le Cadre européen commun de référence pour les langues (CECRL). / Standard Arabic is actually the language of writing. The speeches made in the media and in some TV series are, in most cases, a literal restatement of visual coding of the language (text written in standard Arabic) in auditory coding (reading aloud the written text). Similarly, everyday Arabic does not have the same coding as Arabic that exists in the media, in books and in Arabic language courses. This gives the impression that the current teaching content is not suitable for a usage outside the language classroom.This thesis deals with the problem of the composition of the lexical content of textbooks of teaching Arabic L2 of Higher Language Institute of Damascus (Syria). A content that does not withdraw from standard norms (focus on the adaptation of a classic or moderne standard Arabic), but seeks to be as close as possible to the daily practice of language that is very rich in dialect. The current content represents the traditional approach of the lexicon, which focuses on the semantics of words and phrases while the communicative features of these language elements are little treated. The proposed analysisshows the weak points in the structure of textbooks now in use. It is based on the criteria of the Common European Framework of Reference for Languages (CEFR) and the skill references of Niveaux pour le français that offer an approach batter adapted to the preparation of the lexicon in recent textbooks of teaching moderne languages. This analysis focuses on finding the crossing points in standard and spoken Arabic in Syria to build a route map that allows the learner an easy passage from what he learns in the Arabic language classroom to Arabic that is really practiced in everyday communications. It provides some solutions to reduce the gap between these two usages of Arabic.

Ce travail de recherche s’interroge sur l’usage des langues dialectales dans le théâtre italien contemporain. De fait, celles-ci restent une source d’inspiration importante dans les créations les plus innovantes des trente dernières années, malgré l’affirmation de l’italien sur tout le territoire national depuis l’Unité. Cette étude s’interroge sur les valeurs et les enjeux de ces langues dialectales dans un théâtre actuel qui est, pour une part importante, le fait d’acteurs-auteurs : ainsi, la relation qui s’établit entre l’artiste, à la fois créateur et interprète, et la langue théâtrale, s’appuie sur une approche de l’élément langagier qui est aussi fondamentalement pré-cognitive, voire corporelle.Après avoir élucidé dans un premier temps les dynamiques linguistiques à l’œuvre dans le théâtre italien depuis l’Unité, cette étude se resserre autour de la pratique de cinq acteurs-auteurs contemporains : Marco Paolini, Ascanio Celestini, Spiro Scimone (Compagnia Scimone Sframeli), Emma Dante (Compagnia Sud Costa Occidentale) et Enzo Moscato. L’analyse du parcours de chacun de ces artistes, ainsi que d’une œuvre en particulier, se propose d’établir une cartographie du théâtre italien contemporain puisant dans les dialectes la matière de sa langue théâtrale. Il s’agit de mettre en évidence les lignes de fuite de créations qui interrogent trois notions clés au cœur de l’analyse : le temps, le territoire et l’identité, notions qu’une réflexion constante sur le concept de limite et de frontière affine et redéfinit progressivement. / This doctoral dissertation deals with the use of dialectal languages in the contemporary Italian theater. Indeed, these languages remain an important source of inspiration in the most innovating creations of the last thirty years, in spite of the paramount place the Italian language has come to have in the whole national territory since the Italian Unification. This study deals with the values and with what is at stake in these dialectal languages in today's theater which is, most of the time, created by actors-authors: therefore, the relationship between the artist, who is both creator and performer, and dramatic language, relies on a way of tackling the linguistic element that is fundamentally precognitive and corporal as well.After having cleared up the linguistic dynamics in the Italian theater since the Unification ; the study focuses on the work of five contemporary actors-authors: Marco Paolini, Ascanio Celestini, Spiro Scimone (Compagnia Scimone Sframeli), Emma Dante (Compagnia Sud Costa Occidentale) and Enzo Moscato. Studying the work of these artists, as well as a specific play, intends to draw up a cartography of the contemporary Italian theater that is inspired by dialect languages to create its own dramatic language. The study aims to lay emphasis on the convergence lines of creations which deals with three key notions, at the core of the study: time, territory and identity. These three notions will be progressively redefined and precised by working on the idea of limit and boundary. / Questo lavoro di ricerca si interroga sull’uso delle lingue dialettali nel teatro italiano contemporaneo. Infatti, esse restano un’importante fonte d’ispirazione nelle creazioni più innovative degli ultimi trent’anni, nonostante l’affermarsi dell’italiano sull’intero territorio nazionale a partire dall’Unità. Questo studio si interroga sui valori e sul peso di queste lingue dialettali nel teatro odierno che, in larga parte, viene realizzato da attori-autori: perciò, la relazione che si stabilisce tra l’artista, insieme creatore ed interprete, e la lingua teatrale è fondata su un approccio fondamentalmente pre-cognitivo, e perfino corporeo, dell’elemento linguistico.Dopo aver chiarito, in un primo momento, le dinamiche linguistiche in atto nel teatro italiano sin dall’Unità, questo studio si accentra intorno alla pratica di cinque attori-autori contemporanei: Marco Paolini, Ascanio Celestini, Spiro Scimone (Compagnia Scimone Sframeli), Emma Dante (Compagnia Sud Costa Occidentale) e Enzo Moscato. L’analisi del percorso di ognuno di questi artisti, nonché di una loro opera in particolare, mira a stabilire una cartografia del teatro italiano contemporaneo che attinge dai dialetti la materia della propria lingua teatrale. Si tratta di evidenziare le linee di fuga di creazioni che interrogano tre nozioni-chiave al cuore dell’analisi: il tempo, il territorio e l’identità, nozioni affinate e progressivamente ridefinite da una costante riflessione sul concetto di limite e di confine.