Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

[pt] O objetivo desta análise é propor a conceituação e a organização das expressões formulaicas a partir do corpus que consta de 6 episódios do programa Os Normais da Rede Globo de Televisão, reunidas no DVD de mesmo nome. A fundamentação teórica básica deste trabalho concentra-se na área da Funcionalismo, associado à Pragmática e vale-se do conceito de função (Neves, 1997), e seqüência formulaica numa perspectiva pragmática (Wray, 2002). Nossos resultados apontam para uma lista sistematizada de expressões formulaicas, que funcionam como um dos mecanismos lingüísticos usados no cotidiano, favorecendo a economia lingüística e proporcionando o aumento da competência de uso da língua portuguesa para o estrangeiro. / [en] The aim of this analysis is to propose a conceptualization and organization of the formulaic expressions taken from a corpus of 6 episodes of the Rede Globo sitcom Os normais , included in a DVD also titled Os normais.. The theoretical basis of this work is in Functionalism in association with Pragmatics, adopting the concepts of function (Neves, 1997) and formulaic sequence from a pragmatic perspective (Wray, 2002). Our results point to a systematic list of formulaic expressions, that are one the used linguistic devices in everyday language, favoring linguistic economy and increasing linguistic competence in Portuguese for non-native speakers.

L'étude consacrée à Daurel et Beton consiste à décrire une forme poétique singulière, celle de la chanson de geste en langue d'oc du XIIe siècle. La recherche porte ainsi sur les ressources de la langue pour créer le matériau épique. Dans Daurel et Beton, en effet, la langue lyrique, la langue des troubadours, des poètes du Sud, devient la langue épique. Il nous faut donc saisir la vocation de notre poème : offrir le vécu immédiat de l'incantation sonore au public mis en présence de la langue poétique des origines, celle de la chanson de geste en langue d'oc qui naît à la littérature. De plus, dans Daurel et Beton, le jongleur, ordinairement cantonné aux motifs culturels et extradiégétiques, devient un personnage de premier plan dans le récit. L'analyse se place également sur le terrain de l'anthropologie et tente de saisir la dimension culturelle de l'oeuvre dans tous ses aspects, c'est-à-dire le fonctionnement de la société féodale perceptible au travers des situations du récit, la conception des rapports sociaux et plus généralement la vision de la sociabilité aristocratique, des rituels qui définissent les échanges humains au Moyen Âge. / Daurel et Beton is a chanson de geste written in old provencal, and a particular poetic form from the twelfth century. What are the resources to create the epic material ? Surely the lyric language : the forms are loud-sounding, full of matter, highly musical, and the chanson. quite different from those of Northern France, returns to the primary source of epics. Moreover, in Daurel et Beton, noteworthy is the fact that the jongleur exceeds the cultural and metalinguistic functions he fulfils usually in the genre and becomes a character of primary interest in the plot. Besides, this text deserves en anthropology investigation. i.e. how the feudal suciety is showned in tbe narratives situations, and which are the interactions between individuals in the Middle Ages society depicted in South Old French epics. Thus, it is possible to tackle the status of the epic imaginary bound to the poetic form, and to observe how genre and its style evolved int the South of France.

Dans cette thèse de doctorat, nous analysons les rapports et l’influence possible que l’épique médiévale française a pu exercer sur l’hispanique au niveau des motifs et des formules. L’étude se compose de deux grandes parties, précédées d’une introduction et suivies d'un deuxième volume d’annexes. Dans la section introductive, nous présentons certains aspects essentiels : nous définissons le corpus, nous reprenons certains points sur lesquels l’influence des chansons de geste sur le Cantar de mio Cid a été proposée ou rejetée, nous définissons les concepts fondamentaux employés et nous justifions la structure de notre étude. La thèse se compose de deux grandes parties complémentaires, dans lesquelles nous analysons d’un point de vue comparatiste les motifs et le formulisme, respectivement. Dans la première, nous étudions six motifs qui méritent une attention spéciale : la description générale de la bataille, l’attaque à la lance, le coup d’épée, la prière du plus grand péril, l’apparition de l’ange et l’itinéraire épique. L’analyse est fondée sur deux niveaux : l’un externe, où nous explorons la relation du motif et des personnages qu’il met en jeu au sein de l’œuvre dans laquelle il s’insère ; et l’autre interne, où nous nous intéressons à la composition du motif et à l’actualisation formulaire des phases qui le composent. La deuxième grande partie s’ouvre avec l’examen du rapport entre l’oralisme et le formulisme. Ensuite, à partir des exemples du Cantar de mio Cid, nous analysons en détail les différentes espèces d’expressions formulaires en tenant compte du type de variation qu’elles expérimentent. De même, nous analysons les procédés de création de formules, ainsi que les différents fonctions et effets de l’emploi de ces unités. La thèse se poursuit avec un examen quantitatif des formules du Cantar. Cette deuxième grande partie se clôt avec un chapitre dédié au système formulaire de l’épique hispanique à la lumière des chansons de geste françaises. Les annexes incluent les vers et les formules des six motifs analysés dans la première partie, toujours à partir des exemples du corpus ; les différents types de locutions formulaires du Cantar ; le registre de la totalité des formules et des phrases formulaires du poème castillan ; et un index des vers cités, provenant tant de l’épique française que de l’hispanique. / In this doctoral dissertation we analyze the relations and the possible influence that the Medieval French Epic could have exerted on the Hispanic one on the motifs and formulas levels. The study consists of two parts, preceded by an introduction and followed by a second volume of appendix. In the introductory section, some essential aspects are presented: the corpus, the status quaestionis of the French epic influence on the Cantar de mio Cid, the fundamental concepts employed and the structure of the study. In these two parts, we analyze from a comparative perspective two complementary aspects: the motifs and the formulism. In the first one, we study six motifs which deserve a particular attention: the general description of the battle, the lance attack, the blow with the sword, the narrative prayer, the appearance of the angel and the epic itinerary. These examinations are founded on two levels: the external one, in which the relation of the motif and the characters is explored; and the internal one, that deals with the motif composition and the formulaic way in which it is expressed. The second part opens with the relation between oralism and formulism. Thereafter, drawn from the examples of the Cantar de mio Cid, we analyze in detail the different kinds of formulaic expressions, taking into consideration the type of variation. In addition, we study the methods of generation of the formulas, and we also examine the diverse functions and effects of these units. The thesis continues with a quantitative exam of the formulas of the Cantar. This second part closes with a chapter devoted to the study of the Hispanic formulaic system in light of French epic. The annexes contain the verses and formulas of the six analyzed motifs, taken from the examples of the corpus; the different types of formulaic expressions of the Cantar de mio Cid; the register of all formulas and formulaic expressions of this Castilian poem; and a final index with the verses quoted both from the French and the Hispanic epic. / En esta tesis de doctorado, analizamos las relaciones y la posible influencia que la épica medieval francesa pudo ejercer en la hispánica en el nivel de los motivos y las fórmulas. El estudio se compone de dos grandes bloques, precedidos de una introducción y seguidos de un segundo volumen de anexos. En el apartado introductorio, presentamos algunos aspectos esenciales: definimos el corpus, retomamos algunos puntos sobre los que se ha propuesto o desechado la influencia de las chansons de geste en el Cantar de mio Cid, definimos los conceptos fundamentales empleados y justificamos la estructura del estudio. La tesis está formada por dos grandes partes complementarias, en las que analizamos desde una perspectiva comparatista los motivos y el formulismo, respectivamente. En la primera, estudiamos seis motivos que merecen una atención especial: la descripción general de la batalla, el ataque con la lanza, el golpe con la espada, la oración narrativa, la aparición del ángel y el itinerario épico. El análisis está fundado en dos niveles: uno externo, donde exploramos la relación del motivo y de los personajes que en él participan; y otro interno, donde nos interesamos por la composición del motivo y por la actualización formular de las fases que lo componen. La segunda gran parte de la obra se abre con el examen de la relación entre el oralismo y el formulismo. A continuación, a partir de los ejemplos del Cantar de mio Cid, analizamos en detalle los diferentes tipos de expresiones formulares, teniendo en cuenta las clases de variaciones que experimentan. De igual modo, estudiamos los procedimientos de creación de fórmulas, así como las diferentes funciones y efectos del empleo de estas unidades. La tesis prosigue con un examen cuantitativo de las fórmulas del Cantar. Esta segunda gran parte se cierra con un capítulo dedicado al sistema formular de la épica hispánica a la luz de las chansons de geste francesas. Los anexos incluyen los versos y las fórmulas de los seis motivos analizados en la primera parte, siempre a partir de los ejemplos del corpus; los diferentes tipos de locuciones formulares del Cantar; el registro de la totalidad de las fórmulas y frases formulares del poema castellano; y un índice de versos citados, procedentes tanto de la épica francesa como de la hispánica.

This thesis investigates emblem use exploratory in parent-child interaction. Emblems are conventional gestures with a verbal equivalent. The aim of this study was to answer if emblem use facilitates language acquisition. Formulaic gestures – fixed gestures accompanying songs – were examined as a subgesture of emblems. 20 children and their parents’ emblem use were recorded when interacting freely at seven age points: 6, 9, 12, 15, 18, 21 and 24 months. Emblem use was correlated to the children’s productive vocabulary at 30 months. The results showed that parental emblem use at 24 months and child emblem use at 15 months predicted child productive vocabulary at 30 months. T-tests showed how emblem production of children in a lower productive vocabulary group differed from children in a higher productive vocabulary group. A difference between the children of the lower productive vocabulary group and the children of the higher productive vocabulary group emblem use was also found at 15 months, indicating emblem use being important in language acquisition. Formulaic gestures did not correlate to child productive vocabulary. Emblem use developed along with child age and probably inherently with word production. Parents adjust their emblem use to the child’s age and/or possibly language skills, suggesting that child-directed gesturing occurs in parent-child interaction. / Den här studien undersöker emblemanvändning explorativt i förälder-barninteraktion. Emblem definieras som konventionella gester med en verbal motsvarighet. Målet i denna studie var att undersöka om emblemanvändning underlättar språktillägnande. Fasta gester – gester tillhörande sånger – undersöktes som en underkategori till emblem. 20 barn och deras föräldrar spelades in när de interagerade fritt vid sju ålderspunkter: 6, 9, 12, 15, 18, 21 och 24 månader vilket också korrelerades med barnets produktiva ordförråd vid 30 månader. Resultaten visade att föräldrars emblemanvändning vid 24 månader och barns emblemanvändning vid 15 månader korrelerade med barnens ordförråd vid 30 månader, vilket indikerar att emblemanvändning vid dessa ålderspunkter förutsäger ordförrådets storlek några månader senare. T-tester visade att emblemproducering hos barn skiljde sig åt mellan gruppen med barn med lägre produktivt ordförråd och gruppen med barn med högre produktivt ordförråd. Vid 15 månader fanns också en signifikant skillnad mellan grupperna vilket indikerar att emblem spelar en viktig roll vid språktillägnandet. Fasta gester visade ingen korrelation med barnets språkutveckling. Barnens emblemproduktion utvecklades med åldern och troligtvis tillsammans med ordproduktion. Föräldrar verkar justera sitt emblemanvändande till barnets ålder och/eller språkkunskaper, vilket indikerar att ett barnriktat gestikulerande finns vid förälder-barn interaktion. / Modelling child language acquisition from parent-child interaction (MINT: MAW 2011:007)

No description available.

Upon IRB approval, a corpus of 1,192 texts consisting of three assignments written by a total of 1,736 first year engineering students was compiled, and 117 pedagogical materials were collected. Using an iterative quantitative-qualitative approach to written discourse analysis, instances of formulaic language (4- and 6-word sequences) were identified in the corpus; formulaic language was then coded for the rhetorical functions expected in problem statements as qualitatively identified in the pedagogical materials. Additionally, three discourse-based interviews were conducted with First-year Engineering Faculty. Interview data was coded for themes of effective communication and used to triangulate the findings from the corpus analysis.

The present dissertation investigates similes and their importance in Eichendorff’s narrative work. The sources of the investigation consist of seven of Eichendorff’s narratives. Their 734 similes make up the corpus, which is presented in its entirety in the appendix. The context of the similes is partly included as well. Initially, I define the concept of “simile” more precisely, partly distancing myself from the definitions found in classical dictionaries of literary terms. After this, I describe my procedure for analysis in detail. This turned out to be necessary, since there was no similar study to be found on this topic in the extensive literature on Eichendorff. The search for models of types of similes brought me back to antique rhetoric as well as to Middle High German epic poems. In the first analysis, the types of similes occurring in the corpus are presented. The syntactic structures of image receivers and image givers are used as criteria. Four structures of similes occurred: a) classical similes and b) similes with image givers, which represent adverbial clauses and c) as / as if – clauses or are d) subject-related. The frequency and the development of frequency of types of similes are presented as well. In the second step of the thesis, I investigate whether similes tend to depict conditions/qualities or procedures/actions. It turned out that similes reflecting conditions/qualities, i.e. epic similes, dominated strongly. The high number of similes could possibly be explained by the functions carried out by epic similes in narrative texts. In the third part, I concern myself with the question whether the similes of the corpus are imaginative representations only and what kind of sensorial perceptions they express. Admittedly, the dominating percentage of the similes proved to be images, but more than fifteen per cent consist of sounds and other sensorial perceptions. Furthermore, imaginative similes, but also sounding similes express motion, so that they illustrate pictures in motion and sounding motion respectively. These come close to synaesthesia, whereas only five similes illustrate „pure“ synaesthesia. In contrast, subject-related similes are perceptions of different sensations and feelings, illustrating the inner life of a character not shared by any other character. Finally, the semantic content of the similes is investigated in order to determine the metamorphosis, i.e. the trope transfer from proprium to improprium. It turned out that only the classical simile originating in antique rhetoric is suitable for a semantic analysis. Above all, there is great variation in the trope transfer. The metamorphosis human being → nature dominates strongly, which makes the narrative text appear as a palimpsest, in which yet another world glimmer in front of the human being behind every character. However, the many trope transfers that convey reality → unreality could be interpreted as transitions and as a “magical code” of Eichendorff. Furthermore, the semantic analysis uncovers content and motives of classical similes. It becomes clear that pre-constructed – and only pre-constructed - content is imitated here. Consequently, it can be asserted that Eichendorff’s great number of similes constitute or at least contribute to the formulaic manner (according to Kohlschmidt) and the intertextuality (according to Nienhaus) in Eichendorff’s narrative work. Above all, the subject-related simile type turns out to be a typical representative of Romanticism because of its subjectivism. Together with its preformed semantic content, it constitutes the “romantic formula” of Eichendorff’s work.

Notre objectif étant de procéder à une analyse des aspects formels du dîwân de Jamîl Buṯayna (poète arabe et héros de roman mort aux environs de 701) nous avons commencé par donner du texte une édition intégralement vocalisée et métriquement cohérente à partir de quatre éditions publiées antérieurement. A partir de cette édition, une analyse syllabique intégrale du diwân a été possible grâce au logiciel Xalîl élaboré par Djamel Eddine Kouloughli ainsi qu’un lexique fréquentiel. Dans le deuxième tome, nous avons procédé, à partir de l’analyse syllabique, à une analyse métrique. Le principal résultat de cette analyse a été la mise en évidence d’une systématisation du respect des zones de stabilité qui était sujettes à variation dans la poésie arabe ancienne. L’autre aspect de l’analyse a consisté dans l’extraction des formules du dîwân ; nous avons suivi pour cela une méthode originale que nous avons appelée : prospection guidée métriquement. Cette méthode a permis non seulement de détecter un grand nombre de formules en usage jusqu’au XIIIe siècle, date à laquelle nous avons arrêté l’analyse, mais elle a également mis en évidence l’existence de nombreux vers ou fragments de poèmes que l’on retrouve particulièrement dans les diwân de Jamîl Buṯayna, Majnûn Laylâ, Kuṯayyir Azza, Nuṣayb b. Rabâḥ et Qays b. Ḏariḥ qui constituent un fond commun sans doute à la portée de tous à l’époque et qu’il est donc vain de parler à ce propos de plagiat ou d’antériorité. / Given our objective of analysing the formal aspects of the dîwân by Jamîl Buṯayna (Arabic poet and hero of the Romance of Jamîl and Buṯayna, who died in or around 701 AD), we began by establishing an entirely vocalized and metrically coherent edition of this work from four previously published editions. A complete syllabic analysis of this edition of the diwân was then undertaken using the Xalîl software elaborated by Djamel Eddine Kouloughli as well as a frequency of occurrence lexicon. In the second volume we used the syllabic analysis as the basis for an analysis of the metrics. The main result of this analysis consisted in revealing a systematization of the respect or the zones of stability which had been subject to variation in ancient Arabic poetry. The other aspect of the analysis consisted in the extraction of the formulas of the dîwân; we employed an original method which we baptized: metrically guided prospection. This method not only enabled the detection of a large number of formulas in use until the 13th century (the end of the period under analysis), but also revealed the existence of numerous verses or fragments of poems which are also to be found in the diwân of Jamîl Buṯayna, Majnûn Laylâ, Kuṯayyir Azza and Nuṣayb b. Rabâḥ, in particular. These verses and fragments constitute a common, shared resource which was undoubtedly available to all at that time thus invalidating any reference to plagiarism and anteriority.

Idioms are frequently used in any language and thereby it is important to investigate how these linguistic resources are understood, acquired and mastered. More studies need to be conducted, specially in the learning of a second language. Cooper (1999) examined the processing of idioms in English by L2 learners using the Think-aloud procedure (TAP). He found that a heuristic model consists of the numerous strategies used by these speakers to find the meaning of written idioms by exploring and try to find the meaning which is less familiar to them, compared to the native speakers knowledge and holistic or integrated approach. In the currrent work, realized in Sweden, the TAP was applied to compare the responses given by learners of Spanish as a second language and native speakers about common verbal idioms. The aim is to analyze the interpretation and comprehension of non-literal or figurative meaning of these expressions. As the result indicates, the Spanish idioms were less familiar to the L2 learners, but their figurative meaning was understood in 41% of the times, and including partial associations in 76% of the attempts using the TAP. The descriptions of these L2 Spanish speakers’ group varied notoriously: amid match and partial coincidences with figurative meaning, unusual images were referred and the literal meaning was presented in a few cases as part of the figurative. The heuristic and a kind of hybrid approach to the idiomatic meaning in the oral and semantic elaborations and interpretative strategies were confirmed. However, it was relatively easier to the L2 speakers to propose lexical definitions. With a more holistic processing and descriptions of meaning, the native speakers accessed the non-literal idioms’ meaning with a complete description in 85% of the cases, and including linked information in 98%, which confirmed that regional idioms could be particularly unknown. Some difficulties to give explicit information about concrete terms by members of the group of native speakers were identified. / Las locuciones son expresiones de uso común en el habla cotidiana y por ello es importante investigar cómo son comprendidas y adquiridas, tanto en el aprendizaje de lenguas maternas como en el de segundas lenguas. Cooper (1999) examinó cómo los hablantes de inglés como segunda lengua, usando el procedimiento Pensar en Voz Alta (PVA), describen el significado de locuciones presentadas por escrito. Él identificó que un modelo heurístico de procesamiento se conforma por numerosas estrategias con las cuales estos hablantes intentan encontrar y dar respuestas acertadas acerca del significado idiomático. El PVA se usó en este estudio, realizado en Suecia, para comparar las respuestas de aprendientes de español como segunda lengua y hablantes nativos, enfocando locuciones verbales de uso común en esa lengua. El propósito fue analizar las interpretaciones y comprensión de significado no literal o figurado de las secuencias convencionales presentadas. Los resultados muestran que para los hablantes de español como segunda lengua las locuciones eran poco familiares, pero acertaron en el 41% de sus intentos al describir significados coincidentes con el sentido figurado, y en 76% con asociaciones parciales de significado. Las respuestas de estos hablantes variaron notoriamente: entre aproximación al significado convencional proporcionaron imágenes inusuales y algunos significados literales como parte del figurado, confirmando un abordaje heurístico o indagatorio y cierta aproximación híbrida al conocimiento idiomático en la L2. Sin embargo, fue relativamente más fácil para estos participantes formular definiciones léxicas. El abordaje de los hablantes nativos fue en cambio más holístico o integrador, con la descripción completa de significados del sentido figurado en 85% de casos, y en 98% con asociación de información relacionada, lo que confirma que algunas expresiones pueden ser conocidas de distinta forma en regiones diferentes. En algunos casos hubo ciertas dificultades para exponer información explícita sobre términos concretos en este grupo de hablantes nativos.