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Plaute est l'un des deux seuls auteurs latins dont des pièces entières aient été conservées : le corpus plautinien reste toutefois un ensemble problématique car les manuscrits ne nous ont transmis, sur les 130 circulant sous le nom de Plaute dans l'Antiquité, que vingt-et-une pièces, identifiées au Ier siècle avant J.-C. par le grammairien Varron comme étant caractéristiques de Plaute. Il n'est pas douteux que ces pièces du corpus plautinien soient des comédies car c'est dans le cadre rituel et ludique propre aux comédies que le poète les a fait représenter. Les pièces elles-mêmes évoquent par ailleurs à plusieurs reprises, dans leur texte, cette appartenance au genre de la comoedia. Il peut alors être intéressant de s'interroger sur ce genre théâtral : Plaute le revendique clairement comme cadre d'inscription de ses pièces, mais le genre comique semble jouer dans ses comédies une fonction supplémentaire. Notre travail cherche à interroger la spécificité du rapport de Plaute à la comédie, et met pour cela en lumière les différents moyens par lesquels la comédie plautinienne se désigne comme théâtre et plus spécifiquement comme comédie. La métathéâtralité, ou le fait de se désigner comme théâtre, apparaît alors comme un procédé ludique, qui cherche à jouer avec le spectateur et à susciter le rire. Notre travail vise également à montrer que certaines comédies de Plaute se constituent spécifiquement comme comédies à travers un jeu sur les genres littéraires de l'épopée et de la tragédie : Plaute proposerait ainsi ce que l'on peut appeler une métapoétique du genre comique. / Plautus is one of the only two Roman playwrights whose plays have been preserved. However, the Plautinian corpus remains a problematic object : among the 130 plays that circulated under Plautus' name in the Antiquity, only 21 have been transmitted to us – those identified by the grammarian Varro in the 1st century BC as characteristic of Plautus. No doubt that these plays belonging to the Plautinian corpus are comedies, for the poet had them performed as comedies in the ritual context of the ludi. Moreover, the text of the plays themselves, on various occasions, mentions them as belonging the the genre of the comoedia. For those reasons, it can be interesting to question the dramatic genre : Plautus claims it as a framework for his plays, but the comic genre seems to play a further part in his comedies. This work aims at questionning Plautus' relationship to comedy : to do so, it lights up the various means through which Plautinian comedy shows itself as theatre in general, and as comedy in particular. Metatheatre – the explicit self-consciousness of being theatre – thus appears as a ludic process which tries to play with the audience and to trigger laughter. This works also aims to demonstrating that some of Plautus' comedies draw their comic specificity from playing on the epic and tragic genres. One could talk about Plautus of a metapoetics of the comic genre.

L'objectif de notre travail, qui émane d'une demande de la sous-direction Assurance Qualité du CNES (Centre National d'Études Spatiales), est d'augmenter la clarté des spécifications techniques rédigées par les ingénieurs préalablement à la réalisation de systèmes spatiaux. L'importance des spécifications (et en particulier des exigences qui les composent) pour la réussite des projets de grande envergure est en effet désormais largement reconnue, de même que les principaux problèmes liés à l'utilisation de la langue naturelle (ambiguïtés, flou, incomplétude) sont bien identifiés. Dès lors, de nombreuses solutions, plus ou moins formalisées, ont été proposées et développées pour limiter les risques d'interprétation erronée – dont les conséquences potentielles peuvent se révéler extrêmement coûteuses – lors de la rédaction des exigences.Nous voudrions définir une langue contrôlée pour la rédaction des exigences en français au CNES. L’originalité de notre démarche consiste à systématiquement vérifier nos hypothèses sur un corpus d’exigences (constitué à partir d’authentiques spécifications de projets spatiaux) à l’aide de techniques et d’outils de traitement automatique du langage existants, dans l’optique de proposer un ensemble cohérent de règles (nouvelles ou inspirées de règles plus anciennes) qui puissent ainsi être vérifiées semi-automatiquement lors de l’étape de spécification et qui soient conformes aux pratiques de rédaction des ingénieurs du CNES. Pour cela, nous nous appuyons notamment sur l’hypothèse de l’existence d’un genre textuel, que nous tentons de prouver par une analyse quantitative, ainsi que sur les notions de normalisation et normaison. Notre méthodologie combine les approches corpus-based et corpus-driven en tenant compte à la fois des règles imposées par deux autres langues contrôlées (dont l’adéquation avec des données réelles est discutée au travers d’une analyse plus qualitative) et des résultats offerts par des outils de text mining. / The aim of this work is to improve the clarity and precision of the technical specifications written in French by the engineers at CNES (Centre National d’Études Spatiales / National Centre for Space Studies) prior to the realization of space systems. The importance of specifications (and particularly of the requirements that are part of them) for the success of large-scale projects is indeed widely acknowledged; similarly, the main risks associated with the use of natural language (ambiguity, vagueness, incompleteness) are relatively well identified.In this context, we would like to propose a solution that would be used by the engineers at CNES (who are currently not asked to follow specific writing rules): in that respect, we believe that this solution should be both effective (i.e. it should significantly limit the above-mentioned risks) and not too disruptive (which would make it counterproductive). A Controlled Natural Language (CNL) – i.e. a set of linguistic rules constraining the lexicon, the syntax and the semantics – seems to be an interesting option, provided that it remains close enough to natural language. Unfortunately, the CNLs for technical writing that we have examined are not always relevant from a linguistic point of view.Our methodology for developping a CNL for requirements writing in French at CNES relies on the hypothesis of the existence of a textual genre; besides, we make use of existing Natural Language Processing tools and methods to validate the relevance of the rules on a corpus of genuine requirements written for former projects.

Genre and domain influence an author\''s style of writing and therefore a text\''s characteristics. Natural language processing is prone to such variations in textual characteristics: it is said to be genre and domain dependent. This thesis investigates genre and domain dependencies in sentiment analysis. Its goal is to support the development of robust sentiment analysis approaches that work well and in a predictable manner under different conditions, i.e. for different genres and domains. Initially, we show that a prototypical approach to sentiment analysis -- viz. a supervised machine learning model based on word n-gram features -- performs differently on gold standards that originate from differing genres and domains, but performs similarly on gold standards that originate from resembling genres and domains. We show that these gold standards differ in certain textual characteristics, viz. their domain complexity. We find a strong linear relation between our approach\''s accuracy on a particular gold standard and its domain complexity, which we then use to estimate our approach\''s accuracy. Subsequently, we use certain textual characteristics -- viz. domain complexity, domain similarity, and readability -- in a variety of applications. Domain complexity and domain similarity measures are used to determine parameter settings in two tasks. Domain complexity guides us in model selection for in-domain polarity classification, viz. in decisions regarding word n-gram model order and word n-gram feature selection. Domain complexity and domain similarity guide us in domain adaptation. We propose a novel domain adaptation scheme and apply it to cross-domain polarity classification in semi- and unsupervised domain adaptation scenarios. Readability is used for feature engineering. We propose to adopt readability gradings, readability indicators as well as word and syntax distributions as features for subjectivity classification. Moreover, we generalize a framework for modeling and representing negation in machine learning-based sentiment analysis. This framework is applied to in-domain and cross-domain polarity classification. We investigate the relation between implicit and explicit negation modeling, the influence of negation scope detection methods, and the efficiency of the framework in different domains. Finally, we carry out a case study in which we transfer the core methods of our thesis -- viz. domain complexity-based accuracy estimation, domain complexity-based model selection, and negation modeling -- to a gold standard that originates from a genre and domain hitherto not used in this thesis.

In this study, genre is a central concept. With a theoretical basis in three pragmatical genre traditions, an analytical tool is formulated, making it possible through different criteria to identify varied expressions of the genre notion in the syllabus for Swedish with a focus on early compulsory school and three textbooks with explicit focus on the teaching of genres. The analysis mainly draws upon six writing discourses (Ivanič, 2004), which enables me to study the actual and potential expressions of genre in the curriculum and study materials.The analysis shows that the written genre expressed in the analysed text materials is heavily influenced by a sociosemiotic perspective of genre, emphasizing internal structure, and that it is, regardless of study material, situated within the genre discourse. The variation in how genres are expressed in the texts concern whether they are influenced by the process discourse or social practices discourse as well. Genre is also discussed from a sociorhetorical perspective, focusing on the social context, but is shown to have limited expression in the text materials within this study.The study concludes that the genre notion within the Swedish curriculum for the school subject Swedish in primary school and within the study materials have de-emphasised the social purpose of genres. It also concludes that genre is too varied and complex in its semantic and pragmatic variation in different discourses inside and outside of school practises to be recognized in actual teaching.

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In this compilation licentiate thesis, two studies, concerned with genre and genre-based writing, are synthesized and discussed. Genres are often used as a pedagogical device for teaching the writing of educationally valued texts. The focus is on what is here termed genre metastability, a conceptual tool for understanding how these genres can appear both as fixed and as flexible, that is, offering both constraints and creativity for writing. The findings, based on a case study into genre-based history instruction, show how these, ostensibly opposing aspects, coexist in teaching and that they can be productively put to use by teachers as a means of differentiating instruction. Further, the thesis explores how the fixed/flexible dynamic can be used as a tool for understanding how similar types of history texts can offer diametrically opposed historical understanding of content. These findings have implications for teachers, teacher educators, and (history) textbooks in terms of a deepened understanding of how, or rather when, genres constrain, and when they foster creativity.

This is a genre analysis study in linguistics whose purpose is to identify the structure of a Ballet Review using Swalesian move analysis. Whilst the review genre has been explored in the past (e.g., de Jong, & Burgers, 2018; Nodoushan & Montazeran, 2012; Taboada, 2011) there have been no dedicated studies on Ballet Reviews. To fill this void, the traditional review genre framework has been used as a starting point to investigate whether a similar framework applies to Ballet Reviews. Employing Moth-Roth’s (1996) and Nodoushan’s (2012) adapted frameworks, this study delves into the compositional structure, and rhetorical functions of Ballet Reviews. An in-depth genre analysis is carried out based on 40 Ballet Reviews using move analysis. Additionally, insights from a ballet critic interview enrich the study, providing deeper insights into Ballet Reviews. The research identifies four moves in the reviews, highlighting a consensus among critics on the typical structure. Furthermore, the study reveals the impact of publication venues, emphasising the use of specialist terminology in arts publications compared to mainstream newspapers. Implications of the study include discussions on the classification of Ballet Reviews as a distinct genre and the educational gaps for ballet critics. Overall, this study lays the foundation for understanding Ballet Reviews, contributing to genre theory and paving the way for future research.

The intent of this paper is to explore a black feminist perspective within the film horror genre. A black feminist perspective investigates how black women are portrayed within cinematic horror. It serves as a method to further articulate the particularities of race & gender within cinema. If we leave the cinematic space without a structural model of intervention, then we are left with film that remains unchallenged for ostracizing black women. The paper argues that black women become articulated through themes of motherhood, death, and sexuality.

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