Entre 1829 et 1851 le champ dramatico-médiatique s’est vu reconfiguré : l’apparition de grandes revues littéraires, la naissance de la presse à quarante francs, la multiplication des périodiques et l’augmentation de leurs tirages sont conjoints des bouleversements économiques, politiques et sociaux faisant suite à la période postrévolutionnaire, et de mutations théâtrales majeures sur les scènes parisiennes. En résulte un accroissement de la présence de textes dramatiques diffusés dans la presse, sous de multiples formes : pièces jouées à lire en feuilletons, extraits, fragments, mais aussi ensembles de scènes théâtrales et d’articles théâtralisés ou dialogués à lire le temps de la fréquentation d’une feuille. Il existe ainsi à l’époque un troisième canal d’accès du théâtre vers l’espace public – entre la scène et le livre –, la presse. Parce que le théâtre partage avec le périodique des caractéristiques discursives, stylistiques et formelles, ses limites s’en trouvent diluées sinon abolies. En cet espace spécifique qu’est le journal, il n’est pas de concept de « genre dramatique » qui tienne. Ce que nous avons coutume de nommer « théâtre » n’existe pas, et vient à former une masse textuelle impure, mêlant matières journalistiques et dramatiques. Aussi est-ce au regard de ce contexte éditorial pleinement signifiant qu’il convient d’interpréter les pièces en bonne et due forme alors diffusées, parfois composées à sa destination : un pan entier de l’écriture dramatique romantique a été « médiatique », et doit se comprendre comme tel, recontextualisé et « recotextualisé » dans un cadre éditorial soumis aux modes, à la temporalité collective, à la collaboration et aux effets de lecture redevables à la présence d’autres articles qui lui sont contigus. Étudier le lien intime que les formes dramatiques éditées dans la presse entretiennent avec leur support de diffusion dans le second tiers du XIXe siècle permet de faire émerger une autre histoire du théâtre romantique, médiatique et en grande partie textuelle, en mettant au jour des auteurs, des tentatives dramatiques ou des événements aujourd’hui oubliés, mais aussi en ouvrant à la relecture de textes consacrés, tels ceux de Sand, de Vigny ou encore de Musset. / During the period 1829-1851, numerous factors brought about a reconfiguration of the relationship between print media and dramatic genres: the appearance of major literary journals, the introduction of low-priced printed press, the proliferation of mass periodicals and their increased print runs. These factors echoed not only the economic, social and political upheavals that characterized the first half of the 19th-century in post-revolutionary France but also the sweeping changes that affected the Parisian stage. As a result, one notes an increased presence of dramatic texts in the printed press. They may appear in various forms, as serialized theatrical plays, extracts, fragments but also collections of scenes and dramatized or dialogue-based articles – their length tailored to the newspaper format. Thus, between the stage and the page, dramatic forms could reach the public through a third access channel: print media. Their shared discursive, stylistic and formal features blur and even obliterate the boundaries between dramatic texts and periodical writing. In this particular context, the concept of “dramatic genre” does not apply and what we call “drama” does not exist as such. The result is a mixed mass of text, combining journalistic and dramatic materials. The “proper” plays that were circulated in the press, or even written for it, should be studied against the backdrop of this fully significant editorial context. An entire branch of Romantic playwriting was “media-oriented” and should be understood as such, with a new focus on context and co-text within an editorial framework subject to trends, collective temporality, collaborations and reading effects resulting from the influence of adjacent articles.The study of the close relationship between dramatic forms and their means of dissemination in the second third of the 19th-century gives a new, media-oriented and largely text-centered perspective on the history of the Romantic drama. Besides highlighting long-forgotten authors, events or diverse dramatic forms, it also prompts a new approach to the dramatic writings of well-established authors such as George Sand, Alfred de Vigny or Alfred de Musset.

Магистерская работа посвящена исследованию концепта здоровье в русской и китайской лингвокультуре с опорой на фонд паремий двух национальных культур. В работе на основе паремий русского и китайского языков выделены культурные смыслы концепта здоровье и проведен сравнительно-сопоставительный анализ русских и китайских паремий как средств выражения культурной информации в языковой картине мира. / Master's work is devoted to the concept of health in the Russian and Chinese linguistic culture, drawing on the fund of proverbs of two national cultures. In this work, based on Russian and Chinese proverbs were marked the cultural meanings of the concept Health and was conducted comparative analysis of Russian and Chinese proverbs as a method of expressing cultural information in the language picture of the world

Topic of this diploma thesis is The Issue of Idioms at Upper Primary Schools. Phraseology is the integral part of daily communication that is why I decided to explore how pupils understand it. The theoretical part is based on publications of our leading linguists. The practical part studies not only the knowledge of idioms but also whether pupils understand it and if they are able to use them in sentences. The questionnaire consists of idioms, which have emerged as the examples in theoretical parts but also with the help of dictionaries of Czech phraseology and idioms.

Résumé: Au lendemain des élections présidentielles de 2000, le Sénégal tourne la page sur quarante ans de régime socialiste, et traverse pacifiquement les élections les plus redoutées de son histoire politique. La presse privée, nouveau contre-pouvoir, contribue grandement à l’élection de son candidat : Abdoulaye Wade. Toutefois, une fois aux commandes, cet homme « idéal » est loin de faire l’unanimité selon les médias indépendants. Du coup, ceux-ci constituent un obstacle pour lui. S’instaure alors un bras de fer entre les ex-alliés. À un an de la fin de ce mandat, une webradio créée par un émigrant sénégalais, voit le jour (Keurgoumak). Le concepteur de la radio déclare son intention de poser un regard neutre et objectif sur le septennat finissant, à travers des entrevues (Péncum Sénégal) de personnalités politiques. Mais une radio au dispositif technique presque assimilable à du « journalisme citoyen », née dans des conditions sociopolitiques si particulières, peut-elle échapper à la partialité, avec des thèmes hautement controversés et un public cible (la diaspora sénégalaise) à la dimension stratégique indéniable? Notre objectif est de déterminer le véritable positionnement du journaliste (neutralité ou partialité). Notre corpus est une transcription d’émissions radiophoniques qui ont eu lieu de février 2006 à août 2006. Dans le cadre du discours médiatique tel que décrit par Charaudeau (2000 à 2009), nous nous appuyons sur la perspective intégrative des travaux d’Amossy (2000, 2010) en matière d’argumentation. Celle-ci s’ouvre autant à l’interaction qu’à l’analyse du discours. Notre analyse est contrastive et comparative. Nous déterminons le positionnement du journaliste à travers une comparaison des caractéristiques interactionnelles formelles des entrevues, des caractéristiques lexico-interactionnelles de son discours interactif et une analyse lexicale et énonciative de ses propos. Nous analysons la relation interpersonnelle que le journaliste tisse avec les invités dans le cadre spécifique de l’interaction familière du pénc. Mots clefs : discours radiophonique, entrevue médiatique, pénc, interaction familière, énonciation, relation interpersonnelle, argumentation, analyse du discours, subjectivité, partialité, wolof, Sénégal. / Abstract: In the aftermath of the 2000 presidential election, Senegal leaves behind 40 years of socialist rule and peacefully goes through one of the most feared elections of its political history. Abdoulaye Wade is elected with a considerable contribution from independent medias. But once in power, the "ideal" man is far from being what the independent medias had anticipated. This situation creates tension between the former allies. One year prior to the end of Abdoulaye Wade’s first term, an independant webradio (Keurgoumak) created by a Senegalese immigrant decides to have a look at Abdoulaye Wade presidency. The designer of the radio declares its intention to take a neutral and objective stance through interviews (Pencum Senegal) with politicians in power and from the opposition. But can any journalistic institution escape subjectivity or bias? Moreover Péncum Senegal has a constitution similar to that of "citizen journalism" and is born in heavily polarized socio-political conditions. The journalist discusses highly controversial issues and targets an audience (the Senegalese diaspora) that holds an undeniable strategic dimension in the country. Our goal is to determine the true position of the journalist (neutrality or favoritism). Our corpus is a transcript of the radio broadcasts that took place from February 2006 to August 2006. We base our analysis on the media discourse theory as described by Charaudeau (2000-2009). We do so within the frame of the integrative perspective by Amossy (2000, 2010). Based on argumentation, it combines rhetoric, interaction and discourse analysis. Our analysis is comparative and contrastive. We observe the interviews’ formal interactional features. We are also interested in the interpersonal relationships that the journalist builds with the guests, as well as the lexical and denunciative clues of his views on the government.

Made available in DSpace on 2016-04-28T19:59:10Z (GMT). No. of bitstreams: 1 Gisele Pimentel Martins.pdf: 334600 bytes, checksum: 2b4cf6d1f0130828f1c0151f62e08d78 (MD5) Previous issue date: 2008-05-16 / Secretaria da Educação do Estado de São Paulo / The objective of this work is questioning the role exercised by proverbial sentences in the construction of poetic in Tutaméia-Terceiras Estórias, last book published by Guimarães Rosa in life. In the hypothesis proposed, the proverbs function as sample of the composition method by author, which comes from popular elements, such as proverbs, to submit them to the method of magic algebra, which will extract from its conventional and generalizing form that singularizes like poetics cells, which are updated each time in different contexts. This dual structure - fixed and moving - of proverbial expressions, keep inside the "counsel" of the narrator from oral traditions, and the anonymity that makes them a land of moving frontiers between orality and writing, the literary and non-literary. The proverbs are, therefore, cells of the critical short story of Rosa, that is, one that transcends the tradition of short story genre to introduce as hybrid narrative between fiction and metafiction; the poetic and scientific; the literary and essayistic - philosophical. The methodology of analysis focused the four prefaces - "Aletria e Hermenêutica", "Hipotrélico", "Nós, os temulentos" and "Sobre a escova e a dúvida" - as a sample of the functions of proverbs as structures that lead to metaficcional reflections on the working method practiced by Rosa in Tutaméia, in addition to two short stories - "Arroio-das-Antas" and "- Uai, eu?" in which proverbs work as fictional experimentation exerted by the narrators, in a frontier area with the character and the figure of the author. In conclusion, it was observed that the update of proverbs in Tutaméia restored them the latent poetry, darkened by the repetition and the use of that automated sentences / Este trabalho investigativo tem por objeto o questionamento do papel exercido pelas sentenças proverbiais na construção poética de Tutaméia-Terceiras Estórias, última obra publicada em vida por Guimarães Rosa. Na hipótese levantada, os provérbios funcionam como amostra do método de composição autoral, que parte de elementos populares, como os provérbios, para submetê-los ao método da álgebra mágica, que vai extrair da sua forma convencional e generalizante aquilo que os singulariza como células poéticas cada vez que são atualizados em contextos diferentes. Essa estrutura dúplice - fixa e movente - das expressões proverbiais, guarda em seu interior o conselho do narrador das tradições orais, bem como o anonimato que faz delas um terreno de fronteiras movediças entre a oralidade e a escritura; o literário e o não literário. Os provérbios constituem-se, assim, células do conto crítico roseano, isto é, aquele que transcende a tradição do gênero conto para se instaurar enquanto narrativa híbrida entre a ficção e a metaficção; o poético e o científico; o literário e o ensaístico - filosófico. A metodologia de análise privilegiou como corpus os quatro prefácios - Aletria e Hermenêutica , Hipotrélico , Nós, os temulentos e Sobre a escova e a dúvida - como amostra das funções dos provérbios como estruturas que conduzem à reflexão metaficcional sobre o próprio método de trabalho praticado por Rosa em Tutaméia, além de dois contos - Arroiodas- Antas e - Uai, eu? nos quais os provérbios funcionam como experimentação ficcional exercida pelos próprios narradores, numa zona fronteiriça com a personagem e a própria figura autoral. Como conclusão, observou-se que a atualização dos provérbios em Tutaméia restaurou-lhes a poesia latente, obscurecida pela repetição e pelo uso automatizado de tais sentenças

九世紀中葉，突厥人在中亞建立了喀喇汗王朝，此時中國與阿拉伯的勢力對中亞已不構成威脅，而波斯的薩曼王朝也逐漸沒落，使得突厥人崛起並掌控了中亞。 　　相對於政治上的強勢，突厥人在文化上是處於弱勢的。許多語言和風俗都受到阿拉伯和波斯文化的影響而改變，所幸Kashgari Mahmut編寫了《突厥語大辭典》，保留了許多的突厥語和風俗習慣，因此這部書也就成為研究當時突厥人的語言和社會文化的重要典籍。 　　其中的詩歌和諺語是作者用來解釋字詞時所舉的例子，這些詩歌是傳統的突厥詩歌，諺語則是民族生活的智慧結晶，這兩者所記錄的當時突厥人的社會文化與思想是目前研究這個課題的第一手史料，可見其重要性。 　　本文對詩歌和諺語做了翻譯和分類，並且分析其中的涵意，再從分析所得的訊息來描繪出十一世紀突厥人的社會文化。

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Тема магистерской диссертационной работы: Культурно-прагматические аспекты перевода русского фольклора на китайский язык. Фольклор каждого народа имеет свою уникальность. Если вы хотите по-настоящему овладеть языком нации, вам необходимо изучить ее фольклор и понять ее языковой стиль и культурную коннотацию. Становление и развитие русской нации имеет свои исторические условия и специфические обстоятельства, и в то же время она сформировала свои уникальные фольклорные черты. Русский фольклор – уникальное культурное наследие России. Пословицы, поговорки и сказки являются составляющими устного народного творчества в фольклористике, кристаллизацией опыта и мудрости человеческого производства и жизни. / Cultural and pragmatic aspects of the translation of Russian folklore into Chinese. The folklore of each nation has its own uniqueness. If you want to truly master the language of a nation, you need to study its folklore and understand its language style and cultural connotation. The formation and development of the Russian nation has its own historical conditions and specific circumstances, and at the same time it has formed its own unique folklore features. Russian folklore is a unique cultural heritage of Russia. Proverbs, sayings and fairy tales are the components of oral folk art in folklore, the crystallization of the experience and wisdom of human production and life.

A travers les faits et manifestations considérés comme irrationnels par l’entendement scientiste et positiviste, on décèle du point de vue de la philosophie de l’esprit, une rationalité poétique qui est à l’œuvre dans tout esprit humain. Ce super- rationalisme qui intègre en même temps le sensible et le rationnel obéit à une logique du symbolisme qu’on retrouve dans l’Ontologie africaine. L’africanisme ontologique induit une philosophie de l’invisible où la connaissance intuitive libère l’esprit du dogmatisme rationaliste. Il permet d’appréhender l’Être dans sa totalité en examinant la question du rapport à soi, et du rapport à l’autre à travers la figure du sage africain.Aujourd’hui, la rencontre des cultures et des civilisations permet un croisement des rationalités et une pluralité de valeurs qui sont le fondement du nouvel humanisme dont nous nous réclamons. Un humanisme spirituel basé sur le respect et la compréhension de l’autre par la différence de sa pensée et de ses attributs socio-psychologiques. / In facts and manifestations watched as irrationals by the scientist and positivist understanding, one can detect from the point of view of the philosophy of Being, a poetic rationality which is at work in every human spirit. This “super-rationalism” able to integrate at the same time both the perceptible and the rational obeys a logic of symbolism we find in the African Ontology.The ontological Africanism leads into a philosophy of the finiteness where the intuitive knowledge frees the spirit from the rationalist dogmatism. It enables a comprehension of the Being as a whole looking at the question of the relationship to the self, and the relationship to the other through the figure of the African sage.Today, the encounter of cultures and civilizations allows a crossing of rationalities and a plurality of values that are the foundation of the new humanism we claim as ours. An humanism based on the respect and the understanding of the other by accepting the difference of his own thought as well as his socio-psychological attributes.

Although there are units larger than the word in language, linguists have not been able to agree on a definition of these units. This study examines a variety of notions, relevant in the study of ”fixed” or ”frozen” expressions in contemporary French. Criteria such as memorization, unique context, non-compositionality, marked syntax, lexical blocking and grammatical blocking are analyzed in detail. A closer look at them reveals that in fact only one of them, lexical blocking, is both necessary and sufficient in the description of a fixed expression. The other criteria are, however, also important to the notion of ”fixedness”. It may well be that the criteria that have often been proposed in linguistic literature would benefit from being organized in a family resemblance rather than being used as necessary and sufficient conditions.