Sur fond d’incertitude radicale, les entrepreneurs ne peuvent s’en remettre à un calcul précis de rentabilité. Pour les anticipations d’investissement, ils ont recours à leurs esprits animaux, c’est-à-dire un jugement analogique instinctif sur le futur associé à une décision émotionnelle automatique par rapport à lui en fonction de motivations. La notion remonte à l’Antiquité. Elle était synonyme d’influx nerveux. Si l’on interroge les neurosciences d’aujourd’hui, ce sont les marqueurs somatiques qui l’éclairent. Nos émotions servent à arrêter la réflexion, restreindre l’espace des possibles et valoriser certaines options. Elles contribuent à l’intelligence de nos décisions. C’est l’excès, de cognition ou d’émotion, qui est à éviter. Les émotions servent également à réviser ou renforcer nos croyances. Par leur mouvement propre, elles peuvent créer des cycles, ce que nous proposons d’appeler « le paradoxe de la confiance ». Une confiance élevée prépare le terrain de la chute future. À l’inverse, une confiance basse met peu à peu en place les conditions du retournement de conjoncture. Notre travail propose une analyse du raisonnement inductif en économie, à l’origine de l’élaboration de scénarios anticipatifs. Le capital culturel et symbolique semble également orienter les esprits animaux. Notre enquête empirique établit l’existence d’un lien entre capital culturel et prise de risque. Elle dessine aussi une typologie des esprits animaux à même de saisir l’hétérogénéité des entrepreneurs. 11 familles sont dégagées, en fonction de leurs motivations, émotions, capitaux culturels, comportements d’investissement et scénarios anticipatifs privilégiés. / In a background of fundamental uncertainty, entrepreneurs cannot rely on a precise calculus of profitability. For their investment expectations, they have to lean on their animal spirits, that is an analogical, instinctive judgment about the future associated with an automatic emotional decision under the guidance of motivations. The notion traces back to the Ancient times. She was then synonymous with “nerve impulse”. Nowadays, if one probes neuroscience, it appears that somatic markers could shed some light on them. Emotions are useful to stop thoughts, restrict the states of nature and value certain options. They contribute to the intelligence of decisions. It is the excess, be it of cognition or emotion, that is detrimental. Emotions also serve to update or strengthen our beliefs. By their own momentum, they can create cycles, which I propose to dub “the confidence paradox”. When confidence is high, the terrain for the future fall is being prepared. Conversely, when it is low, little by little the conditions for a reversal are being staged. Our work proposes an analysis of inductive reasoning responsible for the elaboration of anticipative scripts. Cultural and symbolic capital also appears to come into play. Our empirical inquiry establishes a link between cultural capital and risk-taking. It outlines as well a clustering of animal spirits so as to grasp the heterogeneity of entrepreneurs. 11 different sorts are outlined and sorted by their motivations, emotions, cultural capital, investment behaviors and preferred anticipative scripts.

本篇論文引用Hopper在1993年所提出的五項原則，論證漢語中「起來」、「下去」、「上來」的多義現象是反映語法化的現象。在「起來」、「下去」、「上來」語法化的過程中，可以發現許多語意和語法的痕跡，例如語意選擇的限制、受詞位置的限制、受詞限定的要求、與完成貌時貌標記使用的限制。根據Lehmann 1991年的研究，這些痕跡說明「起來」、「下去」、「上來」在語法化的過程中是由「子句中」向「子句間」變動。這樣的語意變動主要來自於概念上由空間向時間的比喻轉換。除此之外，在「起來」、「下去」、「上來」的句子中，這樣的轉換還受到不同的語意角色要求所限制。 / This thesis applies Hopper*s Principles (1993) to assert that the semantic varieties of Mandarin directional verbs qi-lai, xia-qu, and shang-lai are reflections of grammaticalization. The grammaticalization of Mandarin qi-lai, xia-qu, and shang-lai has left traces on selectional restriction, syntactic constraints on object positions, object definiteness, and requirements of perfective aspect marker. Based on Lehmann (1991), these traces lead to the conclusion that Mandarin qi-lai, xia-qu, and shang-lai shift from clause-internal to cross-clause grammaticalization. The semantic shifts of Mandarin qi-lai, xia-qu, and shang-lai are considered to be motivated by SPACE-to-TIME metaphorical transfer. The transfer is also constrained by theta-role requirements.

<p>This thesis explores bodily representations in Late Iron Age Scandinavia (400–1050 AD). Non-human bodies, such as gold foil figures, and human bodies are analysed. The work starts with an examination and deconstruction of the sex/gender categories to the effect that they are considered to be of minor value for the purposes of the thesis. Three analytical concepts – masks, miniature, and metaphor – are deployed in order to interpret how and why the chosen bodies worked within their prehistoric contexts.</p><p>The manipulations the figures sometimes have undergone are referred to as masking practices, discussed in Part One. It is shown that masks work and are powerful by being paradoxical; that they are vehicles for communication; and that they are, in effect, transitional objects bridging gaps that arise in continuity as a result of events such as symbolic or actual deaths.</p><p>In Part Two miniaturization is discussed. Miniaturization contributes to making worlds intelligible, negotiable and communicative. Bodies in miniatures in comparison to other miniature objects are particularly potent. Taking gold foil figures under special scrutiny, it is claimed that gold, its allusions as well as its inherent properties conveyed numinosity. Consequently gold foil figures, regardless of the context, must be understood as extremely forceful agents.</p><p>Part Three examines metaphorical thinking and how human and animal body parts were used in pro-creational acts, resulting in the birth of persons. However, these need not have been human, but could have been the outcomes of turning a deceased into an ancestor, iron into a steel sword, or clay into a ceramic urn, hence expanding and transforming the members of the family/household. Thus, bone in certain contexts acted as a transitional object or as a generative substance.</p><p>It is concluded that the bodies of research are connected to transitions, and that the theme of transformation was one fundamental characteristic of the societies of study.</p>

<p>Based on current research in historical and cognitive linguistics this thesis examines the German semantic field <fromm> (<pious>), partly contrasting it with its Swedish correspondent <from>. Starting at the time of Old High German the analysis follows the historical development of word and concept, exploring how attitudes to the Christian religion are verbalised in different ages. One important assumption is that ideas and attitudes are accessible to us through the lexicalised items of a language.</p><p>The thesis is part of the interlingual research project “Ethical concepts and mental cultures”, which, by applying a pluralistic method, examines various ethical fields, and assumes as central the oppositions a/o (action directed to others vs. to oneself), right/wrong (virtues vs. vices) and too much/too little vs. the ideal mean.</p><p>This study shows that true piety, in order to be classified as a virtue, has to include both trust and critical thinking in equal proportions and that if either of the two outweighs the other the virtue will become a vice. Furthermore, it is shown that a shift in meaning has taken place from ‘profitable’ or ‘advantageous’ in Old High German, through ‘excellent’, ‘righteous’, ‘virtuous’ into ‘religious’, with Luther’s usage as the critical factor in giving the word its religious meaning. As a result of Secularisation and Individualisation negative connotations have developed in modern German usage which do not seem to exist to the same extent in modern Swedish. This is confirmed by two corpus studies, evaluating the usage of <i>fromm/from</i> in German and Swedish newspaper texts, according to which <i>fromm</i> tends to be transferred to profane contexts, meaning for example ‘hypocritical’, ‘uncritically credulous’ and ‘uncritically obedient’ more frequently than its Swedish equivalent.</p><p>Based on results from socio-psychological research the study also identifies some strategies that speakers employ in order to mark distance or adherence to a group of believers or non-believers, for example metaphors (i.a. GOOD IS UP ÷ BAD IS DOWN) or stereotypes, which are often used to ridicule, criticise or insult a member of another group in order to strengthen the speaker’s own social identity.</p>

Based on current research in historical and cognitive linguistics this thesis examines the German semantic field &lt;fromm&gt; (&lt;pious&gt;), partly contrasting it with its Swedish correspondent &lt;from&gt;. Starting at the time of Old High German the analysis follows the historical development of word and concept, exploring how attitudes to the Christian religion are verbalised in different ages. One important assumption is that ideas and attitudes are accessible to us through the lexicalised items of a language. The thesis is part of the interlingual research project “Ethical concepts and mental cultures”, which, by applying a pluralistic method, examines various ethical fields, and assumes as central the oppositions a/o (action directed to others vs. to oneself), right/wrong (virtues vs. vices) and too much/too little vs. the ideal mean. This study shows that true piety, in order to be classified as a virtue, has to include both trust and critical thinking in equal proportions and that if either of the two outweighs the other the virtue will become a vice. Furthermore, it is shown that a shift in meaning has taken place from ‘profitable’ or ‘advantageous’ in Old High German, through ‘excellent’, ‘righteous’, ‘virtuous’ into ‘religious’, with Luther’s usage as the critical factor in giving the word its religious meaning. As a result of Secularisation and Individualisation negative connotations have developed in modern German usage which do not seem to exist to the same extent in modern Swedish. This is confirmed by two corpus studies, evaluating the usage of fromm/from in German and Swedish newspaper texts, according to which fromm tends to be transferred to profane contexts, meaning for example ‘hypocritical’, ‘uncritically credulous’ and ‘uncritically obedient’ more frequently than its Swedish equivalent. Based on results from socio-psychological research the study also identifies some strategies that speakers employ in order to mark distance or adherence to a group of believers or non-believers, for example metaphors (i.a. GOOD IS UP ÷ BAD IS DOWN) or stereotypes, which are often used to ridicule, criticise or insult a member of another group in order to strengthen the speaker’s own social identity.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

Cette étude comparatiste porte sur le récit spéculaire chez Michel Butor et chez Ma Yuan. Dans l’objectif de mettre en lumière leur philosophie d’écriture romanesque, la fonction et les effets de miroir, nous cherchons à explorer les différentes sources et pratiques du récit spéculaire dans les contextes distincts français et chinois. À la lumière du procédé de la mise en abyme et des problématiques du récit qui en découlent (métalepse narrative, intertextualité, etc.), on se focalise sur L’Emploi du temps de Michel Butor et le Niugui sheshen (Fantôme à tête de taureau et dieu à corps de serpent) de Ma Yuan pour scruter les similtitudes et les divergences en matière de réflexivité, de miroir métaphorique, de recherche de formes nouvelles et de philosophie d’écriture. Pour ce faire, la thèse s’organise ainsi autour de deux thématiques majeures : d’un côté, les rapports entre les traditions chinoises (divination et taoïsme) avec les emprunts des modèles narratifs occidentaux, notamment français, dans le domaine culturel ou littéraire, et de l’autre, les rencontres franco-chinoises (sur le plan littéraire et surtout romanesque) source d’une interférence ou d’une influence croisée. / This thesis aims to study the embodiment of specular narrative in the novels of French writer Michel Butor and Chinese writer Ma Yuan. Based on this, we try to explore and then to discuss the common points of the two writers in their philosophy of writing and narrative innovation, such as the preference for metaphorical mirror and the mirror thinking applied in the novel. It can be seen that the origin and application of the mirror narrative is also different under the different background of the two countries. Based on the analysis of L’Emploi du temps of Michel Butor and Niugui sheshen (Bull-headed monster and half-serpent spirit) of Ma Yuan, we explore the similarities and differences about the reflexivity, metaphorical "mirror", narrative innovation and the writing philosophy. Specifically, this thesis focus on two central subjects: on the one hand, the relevance between the cultural tradition (divination and Taoism) and the borrowing occidental narrative forms in the field of literature and culture; on the other hand, it also reflects and discovers the mutual exchange and inter-influence between China and France. We focus on concept of specular narrative and related issues (such as narrative metalepsis and intertextuality) between the two representative writers. The thesis searches on the different application on the same specular narrative through vertical comparison, combined with the horizontal comparison, in order to ultimately reveal the real cultural code behind it.

This study explores the manner in which Anne Michaels uses figurative language, particularly metaphor, in her poetry and prose. In her first novel, Fugitive Pieces, and in certain of her poems, Michaels demonstrates the powers of language to destroy and to recuperate. For her, metaphor is not simply a literary device; it is an essential mechanism in the creation of an authentic story or poem. Moreover, in contrast to other figurative language such as euphemism, which she feels can be used to conceal the truth and make moral that which is immoral, metaphor in her view can be used to gain access to the truth and is therefore moral. Thus, as this study demonstrates, Michaels proposes as well as utilises the moral power of language. The ideas of four language theorists provide the basis of this study, and prove highly useful in application to Michaels’s work. With the aid of Certeau and Bourdieu, we examine Michaels’s participation in and literary presentation of the relationship of domination and subordination in which people seem to interact and which takes place partly through language. In the light of Ricoeur’s explication of the precise functions of metaphor, we discuss Fugitive Pieces as a novel whose engagement with the topic of the Holocaust in intensely emotive and figurative language makes it controversial in terms of what may or may not constitute the appropriate manner of Holocaust literary representation. Klemperer’s meticulous, first-hand study of the Nazis’ use of the German language during the period of the Third Reich proves illuminating in our exploration of the works of Michaels that feature themes of oppression and dispossession. In certain of her poems, Michaels stands in for real people and speaks in their voices. This is also a form of metaphor, this study suggests, as for the duration of each poem Michaels requires us to imagine that she is the real-life person who expresses him- or herself in the first person singular, which she patently is not. We could see this as appropriation and misrepresentation of those people’s lives and thoughts; however, with the aid of the notion of empathic identification we learn that Michaels’s approach is always empathic – she imaginatively places herself in various situations and people’s positions without ever losing her sense of individuality and separate identity, and her portrayal of their stories is always respectful and carefully considered. / Thesis (DLitt)--University of Pretoria, 2011. / English / unrestricted

Following the postmodern discourses of spatial conceptualisation, this study examined the manner in which space in an Open Distance Learning (ODL) University enables or constrains academics’ work as they go about the process of constructing their academic identities. Focusing on academics’ engagement in one college of the University, the study was premised on the assumption that, in the current higher education (HE) dispensation, academic identity construction presumes and demands the existence of supportive space for academics to effect the academic practices. Lefebvre’s (1991) social production of space and Soja’s (1996) Thirdspace were used as lenses to examine the multiple dimensions of space in relation to spatial practices in the College, the spatial policies and the experiences of academics as the users of the Institutional space. Qualitative ethnographic research methods that were used to collect data included a review of the Institutional policies, intranet posts and emails; the observation and photographing of academics’ offices and administrative office space; observation of departmental meeting proceedings and the conducting of semi-structured interviews with academics of different academic ranks. Findings suggested that although some forms of space are supportive of spatial practices that contribute to academic identity construction, the imagined space of the ODL Institution can be unfairly inclusive and inconsiderate of academics’ unique spatial needs. Such inclusivity of space seemed to be inconsistent with the appropriate ODL space as imagined by some participants where academics may work comfortably and with limited restrictions. The study concluded by making recommendations on how the Institution and the academics may manage space for optimal academic identity construction in the College. / Educational Foundations / D. Ed. (Philosophy of Education)

Bc. Renáta Šťastná Abstrakt v anglickém jazyce This thesis -on Archimboldo - explores the possibilities of using the technique of collage in normal teaching in primary and secondary school. The goal of the work is to introduce primary school students to the technique of collage and to awaken in them visual arts appreciation based on metaphorical thinking . In each section a presentation is made on the work of famous painters in order to: - awaken creativity and an ability to create in order to enable students to experience success with their own work - teach critical thinking and self-reflection. - become aware of the influences which motivated painters to create each work. The practical section sets out tasks undertaken and based on their findings are recommendations on how they are to be put into practice.