La singularité et la fonction holoparénétique particulièrement efficace des fragments de Tyrtée et de Kallinos, trop longtemps négligées par une tradition philologique étroitement homérocentrée, imposaient d’elles-mêmes que l’on revienne sur le texte de ces deux poètes-savants du VIIe siècle a. C. et, pour ce faire, que l’on s’en tienne à la lettre des manuscrits sans d’entrée de jeu s’en offusquer, et que l’on étudie pour elle-même, en ses profondeurs linguistiques, la diction qui fut la leur et qui pour la première fois, concomitamment à Archiloque, usa du mètre élégiaque. Or, outre que le fonctionnement dialectal et rythmique de leurs fragments se révèle plus fluctuant qu’il n’y paraît, leur organisation intrinsèquement « stanzaïque » reposant sur des systèmes d’échos plus phoniques que lexicaux, ainsi que l’usage répétitif de la forme rythmiquement marquée des participes moyens-passifs en -me/noj/-(o/)menoj, sont deux traits qui nous fondent à penser que c’est un « rythme sonore », ou plus précisément « phonico-pragmatique », qui devait en être le moteur. Aussi est-ce pourquoi, puisqu’on reconnaît de plus en plus unanimement au Cratyle (dialogue éminemment poiétique de Platon) un savoir linguistique aussi fiable que véritable, j’ai cherché à travers lui une méthode qui permette d’appréhender un tel état de langue. Le parcours herméneutico-philologique qui en découle, mené à l’intérieur d’un système de correspondances phonico-syllabiques centré sur le radical du verbe me/nw « rester, tenir bon », permet de se frayer un chemin dans la dimension intra- et infra-linguistique de la diction parénétique de Tyrtée et de Kallinos afin de mieux comprendre les raisons et la nature d’une efficacité qui hérite à l’évidence de traditions non narratives. / The singularity and the most effective holoparenetic function of Tyrtaeus’ and Kallinos’ fragments, too long neglected by a philological tradition narrowly focussed on the homeric model, imposed themselves for a return to the text of these two wise-poets of the VIIth century B. C. and, to do this, required that we stick to the letter of the manuscripts without first take offense, and that we study for itself, in its depths language, the diction which was theirs and that for the first time, concomitantly with Archilochus, used the elegiac meter. Now, apart from their being dialectically and rhythmically more fluctuating than it looks, their organization inherently “stanzaic”, based on echoes which are more phonic than lexical, as well as the repeated use of the rhythmically marked form of the medio-passive participles in -me/noj/-(o/)menoj, are two features that underpin us to believe that it is a "sound " or more precisely "phonico-pragmatic" rhythm which was to be their driving force. For that reason and since it is more and more established that we must trust the linguistics of Plato’s Cratylus, I have been looking through it for a method that tackles such a state of language. The resulting hermeneutic and philological journey, through out a whole system of phonico-syllabic correspondences turning around the verbal stem of me/nw “to stand firm”, helps clear a path into the intra- and infra-linguistic dimension of Tyrtaeus’ and Kallinus’ parenetic diction in order to understand better the reasons and the nature of an efficiency that inherits obviously non-narrative traditions.

Le texte déposé ici est l'un des documents soumis en vue d'une Habilitation à diriger des recherches en lettres et sciences humaines, soutenue à l'Université Paris X-Nanterre le 29 juin 2006. Ce texte de synthèse retrace, comme c'est l'usage, la carrière du chercheur depuis ses enquêtes en pays touareg de 1976 à 1990. Avant d'aborder les recherches en cours, l'auteur fournit un résumé de ses deux principaux ouvrages, La tente dans la solitude. La société et les morts chez les Touaregs Kel-Ferwan (Paris/Cambridge, Maison des sciences de l'homme/Cambridge University Press, 1987) et Gens de parole. Langage, poésie et politique en pays touareg (Paris, La Découverte, 2000). Il entend marquer comment s'est imposé à lui, avec de plus en plus de force au cours des années, le fait que l'anthropologie doit être considérée comme une science historique : les concepts qu'elle utilise restent indexés sur le contexte d'écriture où ils sont apparus, et ne peuvent être transposés sans trahison ni isolés sans simplification. Ce qui suppose que l'anthropologue, tout comme les autres praticiens des sciences sociales, ne peut travailler qu'à un niveau d'abstraction assez bas.<br />Les recherches en cours, que le texte aborde ensuite, consistent tout d'abord en une réflexion générale sur la littérature orale, dans ses rapports avec l'écriture. Dans ce cadre l'auteur a notamment abordé la question homérique, à travers une analyse critique des thèses de Milman Parry et Albert Lord. Il s'est aussi attaché à montrer comment les thèmes de la poésie courtoise - qu'elle soit touarègue, arabe ou occitane - sont liés aux conditions de sa production et de sa réception. Ces recherches ont par la suite fourni la matière d'un livre paru en 2012 à CNRS Éditions : L'aède et le troubadour. Essai sur la tradition orale (voir http://www.academia.edu/1500254/Laede_et_le_troubadour._Essai_sur_la_tradition_orale). <br />Les recherches de l'auteur consistent par ailleurs en une réflexion sur l'histoire des premiers contacts entre Touaregs et Français. Cette réflexion a conduit l'auteur à retracer le parcours biographique de l'explorateur Henri Duveyrier (1840-1892), et de Charles de Foucauld (1858-1916). <br />Les autres documents soumis en vue de cette habilitation étaient un recueil d'articles, dont certains, consacrés au parcours de Charles de Foucauld, ont fourni la matière à une biographie parue en 2009: Charles de Foucauld, moine et savant (voir http://halshs.archives-ouvertes.fr/halshs-00426237/fr/). À quoi s'ajoutait une biographie d'Henri Duveyrier parue en 2007 aux éditions Ibis Press sous le titre: "Henri Duveyrier. Un saint-simonien au désert".

This dissertation focuses on the contributions of Phonetics in the teaching and learning processes of languages pronunciation in Singing. For that, it investigates a teaching proposal based on this discipline of Linguistics, the Phonetics, with emphasis on articulation and representation of speech sounds - the Articulatory Phonetics and the International Phonetic Alphabet (IPA) in practice, the phonetic transcription. It is based on the literature on Phonetics and Phonology, in the Linguistics area, on the Teaching of Languages, in the Applied Linguistics, and on the Diction for Singers, in the Arts - specifically, the field of Music, singing. Based on the diagnosis made on the subject of Diction in technical and undergraduate courses of Singing in institutions in the triangle region of Minas Gerais, it reflects and suggests changes on didactic and pedagogical aspects, related to the training of singers and singing teachers. It intends to contribute with theoretical reflections, teaching materials and methodological approaches for the teaching of pronunciation of the major languages in the classical repertoire performed in Brazil. / Esta dissertação centra-se nas contribuições da Fonética no processo ensino e aprendizagem da pronúncia de línguas no Canto. Para isto, investiga uma proposta de ensino elaborada com base nesta disciplina da Linguística, a Fonética, com ênfase na articulação e representação dos sons da fala a Fonética Articulatória e o Alfabeto Fonético Internacional (AFI) em sua prática, a transcrição fonética. Fundamenta-se em literaturas sobre Fonética e Fonologia, da área de Linguística, sobre o Ensino de Línguas, da Linguística Aplicada e, sobre Dicção para Cantores, das Artes especificamente, da subárea Música, o instrumento Canto. Com base no diagnóstico da disciplina Dicção em cursos técnicos e graduação em Canto de algumas instituições na região do Triângulo Mineiro, reflete e sugere mudanças de aspectos didáticos e pedagógicos, em função da formação de cantores professores de Canto. Pretende contribuir com reflexões teóricas, material didático e abordagens para o ensino da pronúncia das principais línguas do repertório erudito praticado no Brasil. / Mestre em Artes

This diploma thesis {\clqq}Foreign words in the sports publicism`` consists of a theoretical part and a practical part. The theoretical part deals with characteristics of publicistic diction in the particular sports publicism. Then it discusses the process of taking-over foreign words into the Czech lexicon and it also presents the sources used. The practical part stems from the lingual analysis of spoken and written sports publicism. It gives examples of commonly used foreign words in Czech sports publicism, compares a periodical dating before the Second World War with a contemporary professional magazine and shows professionals´ opinions of taking-over foreign words into sports publicism.

A performance coral requer que o regente faça uma série de escolhas técnicas e interpretativas. Um dos elementos a respeito dos quais o regente faz escolhas é a dicção do texto cantado, visto que a notação musical ocidental não especifica o exato instante de articulação, a duração ou a dinâmica de vogais e consoantes. Manuais de regência coral geralmente discutem a dicção em termos de uniformidade de pronúncia e clareza de enunciação, ou também de sua relação com a homogeneidade do timbre coral e/ou com uma linha legato. Entretanto, são poucos os escritos sobre regência coral que explicitam possíveis durações, dinâmicas e/ou instantes de articulação de vogais e consoantes, e ainda mais raros aqueles que exemplificam como tais escolhas podem contribuir para uma performance expressiva. Nas últimas décadas, houve um aumento de pesquisas sobre a expressividade na performance, contudo poucas mencionam que a maneira como o texto é pronunciado pode colaborar com a expressividade. Ademais, pouco se sabe sobre os efeitos expressivos da dicção em performances especificamente corais. Neste trabalho, estudamos as escolhas interpretativas de regentes quanto à dicção do texto em obras corais cantadas em alemão, visando a observar os efeitos dessas escolhas na expressividade da performance coral. Para isso, utilizamos um conjunto de métodos e técnicas que incluem estudos bibliográficos e estudos de caso, entrevistas, análises de partituras, assim como análises de gravações feitas com o software Sonic Visualiser. A primeira parte apresenta os pontos de partida da pesquisa, que se referem às questões de escolhas e de expressividade na performance. A segunda parte apresenta os estudos bibliográficos, que incluem uma análise de escritos sobre regência coral e também dados coletados nas entrevistas que fizemos com seis regentes. Nessa parte, discutimos a pronúncia do alemão para o canto, as sugestões de regentes quanto à dicção do texto (principalmente em relação à duração, à dinâmica e ao instante de articulação de vogais e consoantes), as relações entre a articulação do texto e a articulação musical, e as possibilidades expressivas da dicção. A terceira parte apresenta os estudos de caso, nos quais analisamos partituras e gravações de obras corais de J. S. Bach, F. Schubert e J. Brahms e descrevemos os efeitos de diferentes escolhas relativas à dicção. A quarta e última parte confronta os dados apresentados nos estudos bibliográficos e nos estudos de caso. Nela, discutimos as relações entre as gravações e a literatura pesquisada em termos das escolhas interpretativas relacionadas à dicção, da influência da articulação do texto sobre articulação musical, e do papel da dicção na expressividade da performance coral. Os resultados sugerem que, em situações específicas, a dicção pode ter um papel central na expressividade da performance, sendo eventualmente tão ou mais significativa que aspectos mais comumente analisados, como variações de andamento, portamento ou vibrato. Por fim, sugerimos dois elementos relacionados à dicção que podem contribuir para compreender a experiência de escuta de uma performance expressiva: um sentido de que os músicos são parte da música e um sentido de estar no momento presente. / Choral performance requires several interpretative and technical choices by the conductor. One of the elements about which the conductor makes choices is the diction of the sung text, since Western musical notation does not specify the precise instant of articulation, the duration or the dynamic of vowels and consonants. Choral conducting handbooks generally discuss diction in terms of uniformity of pronunciation and clearness of enunciation, or also in terms of its relationship with choral blend and/or with a legato line. However, few writings on choral conducting are explicit in relation to possible durations, dynamics and/or instants of articulation of vowels and consonants, and even rarer are those which exemplify how these choices may contribute to an expressive performance. In the last decades, researches on expressivity in music performance have increased, yet few of such researches mention that the way one pronounces a text may play a part in expressivity. Moreover, little is known about the effects of an expressive diction specifically in choral performances. In this research, I investigate conductors\' interpretative choices regarding text diction in choral music sung in German, aiming to identify the effects of these choices on the expressivity of choral performance. My research uses mixed methods and techniques, which include bibliographical studies, case studies, interviews, score analyses, as well as recording analyses made with the software Sonic Visualiser. The first part presents the research\'s starting points, which refer to questions on choices in performance and on expressivity in performance. The second part presents the bibliographical studies, which include an analysis of writings about choral conducting and data collected in the interviews I did with six conductors. In this part I discuss German diction for singing, conductor\'s suggestions with respect to text diction (especially as regards the duration, the dynamic and the instant of articulation of vowels and consonants), the relationships between text articulation and musical articulation, and the expressive possibilities of diction. The third part presents the case studies, in which I analyse scores and recordings of choral works by J. S. Bach, F. Schubert and J. Brahms, and describe the effects of different choices related to diction. The fourth and last part compares data presented in the bibliographical studies and in the case studies. In this final part, I discuss the relationships between the recordings and the researched literature in terms of the interpretative choices regarding text diction, the influence of text articulation on musical articulation, and the role of diction in the expressivity of choral performance. Results suggest that in particular situations text diction can play a central role in performance expressivity, eventually being as significant as (or perhaps even more than) aspects more commonly analysed in researches, such as variations in tempo, portamento or vibrato. Finally, I suggest two elements concerning text diction that may contribute to an understanding of the experience of listening to an expressive performance: a sense that the musicians are part of the music, as well as a sense of being in the present moment.

A performance coral requer que o regente faça uma série de escolhas técnicas e interpretativas. Um dos elementos a respeito dos quais o regente faz escolhas é a dicção do texto cantado, visto que a notação musical ocidental não especifica o exato instante de articulação, a duração ou a dinâmica de vogais e consoantes. Manuais de regência coral geralmente discutem a dicção em termos de uniformidade de pronúncia e clareza de enunciação, ou também de sua relação com a homogeneidade do timbre coral e/ou com uma linha legato. Entretanto, são poucos os escritos sobre regência coral que explicitam possíveis durações, dinâmicas e/ou instantes de articulação de vogais e consoantes, e ainda mais raros aqueles que exemplificam como tais escolhas podem contribuir para uma performance expressiva. Nas últimas décadas, houve um aumento de pesquisas sobre a expressividade na performance, contudo poucas mencionam que a maneira como o texto é pronunciado pode colaborar com a expressividade. Ademais, pouco se sabe sobre os efeitos expressivos da dicção em performances especificamente corais. Neste trabalho, estudamos as escolhas interpretativas de regentes quanto à dicção do texto em obras corais cantadas em alemão, visando a observar os efeitos dessas escolhas na expressividade da performance coral. Para isso, utilizamos um conjunto de métodos e técnicas que incluem estudos bibliográficos e estudos de caso, entrevistas, análises de partituras, assim como análises de gravações feitas com o software Sonic Visualiser. A primeira parte apresenta os pontos de partida da pesquisa, que se referem às questões de escolhas e de expressividade na performance. A segunda parte apresenta os estudos bibliográficos, que incluem uma análise de escritos sobre regência coral e também dados coletados nas entrevistas que fizemos com seis regentes. Nessa parte, discutimos a pronúncia do alemão para o canto, as sugestões de regentes quanto à dicção do texto (principalmente em relação à duração, à dinâmica e ao instante de articulação de vogais e consoantes), as relações entre a articulação do texto e a articulação musical, e as possibilidades expressivas da dicção. A terceira parte apresenta os estudos de caso, nos quais analisamos partituras e gravações de obras corais de J. S. Bach, F. Schubert e J. Brahms e descrevemos os efeitos de diferentes escolhas relativas à dicção. A quarta e última parte confronta os dados apresentados nos estudos bibliográficos e nos estudos de caso. Nela, discutimos as relações entre as gravações e a literatura pesquisada em termos das escolhas interpretativas relacionadas à dicção, da influência da articulação do texto sobre articulação musical, e do papel da dicção na expressividade da performance coral. Os resultados sugerem que, em situações específicas, a dicção pode ter um papel central na expressividade da performance, sendo eventualmente tão ou mais significativa que aspectos mais comumente analisados, como variações de andamento, portamento ou vibrato. Por fim, sugerimos dois elementos relacionados à dicção que podem contribuir para compreender a experiência de escuta de uma performance expressiva: um sentido de que os músicos são parte da música e um sentido de estar no momento presente. / Choral performance requires several interpretative and technical choices by the conductor. One of the elements about which the conductor makes choices is the diction of the sung text, since Western musical notation does not specify the precise instant of articulation, the duration or the dynamic of vowels and consonants. Choral conducting handbooks generally discuss diction in terms of uniformity of pronunciation and clearness of enunciation, or also in terms of its relationship with choral blend and/or with a legato line. However, few writings on choral conducting are explicit in relation to possible durations, dynamics and/or instants of articulation of vowels and consonants, and even rarer are those which exemplify how these choices may contribute to an expressive performance. In the last decades, researches on expressivity in music performance have increased, yet few of such researches mention that the way one pronounces a text may play a part in expressivity. Moreover, little is known about the effects of an expressive diction specifically in choral performances. In this research, I investigate conductors\' interpretative choices regarding text diction in choral music sung in German, aiming to identify the effects of these choices on the expressivity of choral performance. My research uses mixed methods and techniques, which include bibliographical studies, case studies, interviews, score analyses, as well as recording analyses made with the software Sonic Visualiser. The first part presents the research\'s starting points, which refer to questions on choices in performance and on expressivity in performance. The second part presents the bibliographical studies, which include an analysis of writings about choral conducting and data collected in the interviews I did with six conductors. In this part I discuss German diction for singing, conductor\'s suggestions with respect to text diction (especially as regards the duration, the dynamic and the instant of articulation of vowels and consonants), the relationships between text articulation and musical articulation, and the expressive possibilities of diction. The third part presents the case studies, in which I analyse scores and recordings of choral works by J. S. Bach, F. Schubert and J. Brahms, and describe the effects of different choices related to diction. The fourth and last part compares data presented in the bibliographical studies and in the case studies. In this final part, I discuss the relationships between the recordings and the researched literature in terms of the interpretative choices regarding text diction, the influence of text articulation on musical articulation, and the role of diction in the expressivity of choral performance. Results suggest that in particular situations text diction can play a central role in performance expressivity, eventually being as significant as (or perhaps even more than) aspects more commonly analysed in researches, such as variations in tempo, portamento or vibrato. Finally, I suggest two elements concerning text diction that may contribute to an understanding of the experience of listening to an expressive performance: a sense that the musicians are part of the music, as well as a sense of being in the present moment.

Cette thèse s’inscrit dans une optique comparatiste et interdisciplinaire qui étudie les traits spécifiques du « sacré » tel qu’il se manifeste dans un corpus bilingue, en ayant recours conjointement à des théories littéraires et exégétiques. À travers cette étude de l’intertexte du Coran et du hadith dans la littérature tunisienne d’expression française et arabe, nous avons pu souligner l’importance de trois dimensions intertextuelles majeures qui contribuent pleinement à l’élaboration d’une poétique du « sacré » à savoir : la mystique, la rythmique et le mythe. Notre thèse déconstruit les idées reçues qui font perdurer la séparation entre la littérature et le sacré en démontrant la pertinence de la relecture des textes « sacrés » par les auteurs. Ceux-ci semblent en effet, avoir intuitivement accédé à la déconstruction de plusieurs mythes inscrits dans l’ « impensable » islamique. Leur apport est plus que pertinent en ce moment, où l’Islam se propage plus par ces mythes que par l’essence de ses textes. / In this thesis we aim to study what defines the sacredness in a comparative and interdisciplinary perspective as it manifests itself by a bilingual corpus. We had resorted to both literary and exegetical theories. Through this study of intertext of Qur’ân and Hadith in the tunisian literature which uses french and arabic-language we had emphasized the importance of three major dimensions in interextuality that contribute fully to devise the poetry in the « sacredness » : mystic, rhythmics and myth. Our thesis deconstructs preconceived ideas that keep the separation between the literature and sacredness by showing the importance of reviewing the sacred texts beyond doubt. The Authors seem to have intuitively deconstruct many myths of the « unthinkable » islamic thought. What they brought has considerable merit while Islam is becoming known more by its myths than by the essence of its texts.

The global context of decision making continues to adapt in response to international threats. Political psychologists have therefore considered decision making processes regarding major uses of force a key area of interest. Although presidential personality has been widely studied as a mitigating factor in the decision making patterns leading to uses of force, traditional theories have not accounted for the emotions of individuals as they affect political actions and are used to frame public perception of the use of force. This thesis therefore measures expressed emotion and cognitive expressions in the form of expressed aggression, passivity, blame, praise, certainty, realism, and optimism as a means of predicting subsequent major uses of force. Since aggression and blame are precipitated by anger and perceived vulnerability, they are theorized to foreshadow increased uses of force (Gardner and Moore 2008). Conversely, passivity and praise are indicative of empathy and joy respectively, and are not expected to precede aggressive behavior conducted to maintain emotional regulation (Roberton, Daffer, and Bucks 2012). Additionally, the three cognitive variables of interest expand on existing literature on beliefs and decision making expounded by such authors as Walker (2010), Winter (2003) and Hermann (2003). DICTION 6.0 is used to analyze all text data of presidential news conferences, candidate debates, and State of the Union speeches given between 1945 and 2000 stored by The American Presidency Project (Hart and Carroll 2012). Howell and Pevehouse's (2005) quantitative assessment of quarterly U.S. uses of force between 1945 and 2000 is employed as a means of quantifying instances of major uses of force. Results show systematic differences among the traits expressed by presidents, with most expressions staying consistent across spontaneous speech contexts. Additionally, State of the Union speeches consistently yielded the highest scores across the expressed traits measured; supporting the theory that prepared speech is used to emotionally frame situations and setup emotional interpretations of events to present to the public. Time sensitive regression analyses indicate that expressed aggression within the context of State of the Union Addresses is the only significant predictor of major uses of force by the administration. That being said, other studies may use the comparative findings presented herein to further establish a robust model of personality that accounts for individual dispositions toward emotional expression as a means of framing the emotional interpretation of events by audiences.