No description available.

No description available.

No description available.

I examine those linguistic features of Old English and Old Norse which serve as the basic elements for the metrical systems of those languages. I begin with a critical survey of recent work on Old English metrical theory in chapter 1, which suggests that the four-position and word-foot theories of metre are the most viable current frameworks. A further conclusion of this chapter is that stress is not, as is often claimed, a core element of the metre. In chapter 2, I reassess the phonological-metrical phenomenon of Kaluza's law, which I find to be much more regular and widely applicable within Bēowulf than has previously been recognized. I further argue that the law provides evidence that Old English phonological foot structure is based on a preference for precise bimoraism. In chapter 3, I examine the role of syllables in the Norse Eddic metre fornyrðislag, which supports a view of resolution and phonological feet similar to that found in Old English, though Norse prosody is much more tolerant of degenerate, light feet. I reconsider the other major Eddic metre, ljóðaháttr, in chapter 4, integrating the insights of Andreas Heusler and Geoffrey Russom to propose a new system of scansion for this notoriously recalcitrant verse form. This scansion provides important support for the word-foot theory, and suggests that linguistic elements larger than syllables or phonological feet play a crucial role in early Germanic verse. In the final chapter, I give a diachronic account of Germanic metre and relevant linguistic structures, arguing that the word-foot theory provides the best metrical framework for understanding the development of Germanic alliterative verse. This metrical system is linguistically supported by Germanic word structures and compounding rules, and interacts with bimoraic phonological feet, all of which have a long history in Proto- and pre-Germanic.

Orientador: Márcio Thamos / Banca: Maria Clara Bonetti Paro / Banca: Cláudio Aquati / Banca: Álvaro Luiz Hattnher / Banca: Elaine Cristina Prado dos Santos / Resumo: Esta pesquisa desenvolve-se em torno da análise comparada das obras "Cena Trimalchionis" - ou "O Banquete de Trimalquião" - episódio inserido no Satyricon, de Petrônio (? -65d. C.) e Trimalchio, uma primeira versão da obra The Great Gatsby, de F. Scott Fitzgerald (1896-1940). A aproximação dos textos é feita pelo narrador de Trimalchio que compara Gatsby a Trimalquião, e acentua-se no título dado à versão publicada em 2000, que declara o caráter intertextual da narrativa, que aqui será pensado com Julia Kristeva (1974). Partimos dessa relação para a observação de um tema comum às duas obras: o da carnavalização, desenvolvido por Bakhtin (1981;1986;1993). A partir da investigação de aspectos típicos do carnaval encontramos similaridades na composição de personagens e cenários e estudamos tal composição por meio de figuras que vemos repetidas na duas obras. Para o estudo dessas figuras nos valemos da teoria semiótica da figuratividade, seguindo, principalmente, os preceitos de Bertrand (2003), apoiando-nos também nas análises de Fiorin (2014). A inovadora obra de Petrônio desafia os estudiosos na classificação de seu gênero, todavia é possível observar importantes características da sátira menipeia, o que ratifica o caráter carnavalizado da narrativa. O romance de Fitzgerald, inegavelmente autônomo, ganha um novo realce ao dialogar com o texto latino. / Abstract: This research develops around the comparative analysis of the piece "Cena Trimalchionis" - or "Trimalchio's Feast", episode inserted in Petronius' (?-65d.C.) Satyricon; and Trimalchio, a first version of the novel The Great Gatsby, by F. Scott Fitzgerald (1896-1940). The parallel between the texts is made by the narrator of Trimalchio who compares Gatsby to Trimalchio, and is emphasized in the title given to the version published in 2000, which declares the intertextual character of the narrative, which will be thought here with Julia Kristeva (1974). We start from this relation for the observation of a theme common to both works: the one of carnivalization on literature, developed by Bakhtin (1981, 1986, 1993). From the investigation of typical aspects of carnival we find similarities in the composition of characters and scenarios and study this composition through figures that we see repeated in both works. For the study of these figures we use the semiotic theory of figurativity, following mainly the precepts of Bertrand (2003), also supporting this research in the analyzes of Fiorin (2014). The innovative work of Petronius challenges the scholars in the classification of its genre, however it is possible to observe important characteristics of the menippean satire, which confirms the carnavalized disposition of the narrative. Fitzgerald's novel, undoubtedly autonomous, gains a new accent when dialoguing with the Latin text. / Doutor

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Bakgrund: Under en musikpedagogisk utbildning hade jag en rytmikpedagog, som alltid sa; "Det som fastnar i kroppen fastnar i knoppen". Mitt intresse för rytmik väcktes och sedan dess använder jag detta eftersom jag upplever att det ger eleverna bättre förutsättningar för koncentration och lärande.  Syfte: Syftet är att studera hur lärare upplever att elvernas koncentration och lärande påverkas när läraren använder avbrott med rörelse i undervisningen.  Metod: Genom litteraturstudier och en inkät har jag undersökt hur koncentration och lärande påverkas av rörelse. Resultat: Svaren visar att rytmik och rörelse påverkar elevernas koncentration och lärande i positiv bemärkelse. Det är dock viktigt att det används på rätt sätt för att inte riskerar att eleverna störs och tappar koncentrationsförmågan.  Slutsats: Respondenterna använder sig av rytmik eller rörelse i undervisningen. De är eniga om att det hjälper för både koncentration och lärandet. De noterade vikten av att använda rörelse i rätt syfte så det inte tar fokus från informationen eller stör eleven i sitt arbete. Studien visar att lärarna använder någon form av rörelse i undervisningen men det finns skillnader i hur det används. Ett annat sätt att öka elevernas koncentration är att tydligt visa hur långt det är till pauserna.  Nyckelord: Koncentration, lärande, rytmik, rörelse

L'objectif de ce travail est d'étudier l'évolution des vers lyriques à Rome du premier siècle avant J.-C. au premier siècle après J.-C., à travers l'usage qu'en font trois poètes : Catulle (œuvres complètes), Horace (Odes, Chant Séculaire et Épodes) et Sénèque (chœurs non anapestiques de ses tragédies). Ce corpus polymétrique permet d'étudier l'adéquation d'un mètre à un genre ou à une tonalité donnés. À partir d'une étude statistique portant sur les variations du schéma métrique, la fréquence des élisions, l'emploi des coupes, le volume verbal recherché et le rapport entre l'ictus et l'accent, il s'agit de montrer comment s'opère le processus de régularisation du vers entre Catulle et Horace, puis entre Horace et Sénèque, en proposant également des interprétations stylistiques de passages où apparaissent les phénomènes les plus marquants. Le travail est organisé en trois parties, consacrées respectivement aux vers éoliens, aux vers dactyliques et aux vers iambiques. Les résultats obtenus montrent que la régularisation du vers s'opère à travers la réduction du nombre d'élisions, la diminution des mots au schéma atypique ou la raréfaction des coupes originales. Ils mettent également en évidence l'importance des hellénismes dans les particularités stylistiques observées et la possibilité pour Catulle et Horace d'employer un mètre lyrique de façon parodique dans un poème satirique. Enfin, l'utilisation que fait Sénèque des mètres horatiens et la richesse de sa lyrique chorale témoignent du caractère théâtral de ses tragédies, qui ne sont pas de simples illustrations d'idées stoïciennes, mais des œuvres véritablement dramatiques. / The aim of this work is to study the evolution of lyric verse in Rome, from the first century B.C. to the first A.D., through the writings of three poets : Catullus (complete works), Horace (Odes, Carmen Saeculare and Epodes) and Seneca (non anapaestic choruses in his tragedies). This polymetric corpus gives us the opportunity to study how a metre adapts to a specific genre or tonality. We conducted statistical studies on the variations of the metrical scheme, the frequency of elisions, the use of caesurae, the word length and the link between ictus and accent, so as to show how the verse is more and more regular from the poems of Catullus to Horace, and from Horace to Seneca. We also propose stylistic interpretations of passages in which striking phenomena appear. The work is divided into three parts, dealing respectively with aeolic, dactylic and iambic verse. The results reveal that regularization of the verse is obtained by the decreasing use of elisions, words with an atypical scheme or original caesurae. They also highlight the importance of hellenisms in the stylistic particularities observed and the possibility for Catullus and Horace to use a lyrical metre through parody to compose a satirical poem. Finally, the way Seneca uses Horatian metres to create rich choral poetry demonstrates his tragedies are not mere illustrations of stoician ideas but are undoubtedly devised for the stage.