Cette étude porte sur la forme périphrastique había- + do/-to/-cho que la tradition grammaticale répertorie comme le « plus-que-parfait de l’indicatif », en espagnol contemporain. Après avoir interrogé les différentes approches auxquelles a donné lieu l’étude de cette forme verbale, nous en proposons un signifié unique en langue qui en subsume l’ensemble des manifestations discursives. Pour cela, nous adoptons les principes théoriques de la « linguistique du signifiant », laquelle postule l’unicité du signe linguistique – à un signifiant correspond un seul signifié, et inversement – et accorde la primauté à la lecture de la structure sémiologique du signifiant. Cette approche nous conduit à replacer había- + do/-to/-cho au sein des réseaux signifiants de l’espagnol, et à reconsidérer la structuration modale du système verbal de cette langue. Enfin, nous nous employons à décrire le fonctionnement discursif de la périphrase en syntaxe, dans l’élaboration de séquences narratives, d’une part, mais aussi dans les « cas limites » que représentent les emplois diatopiques en situation de contact de langue en Amérique (contact espagnol / guarani en particulier) / This study focuses on the periphrastic form había- + do/-to/-cho that the grammatical tradition identifies as the ‘pluperfect (past perfect) indicative’ in contemporary Spanish. After reviewing the different approaches to this verbal form, we provide a unique signified for this form that is able to subsume all its discursive manifestations. For this purpose, we adopt the theoretical principles of the ‘Linguistics of the signifier’, which postulates the unity of the linguistic sign – i.e. a signifier corresponds to a single signified, and vice versa – and gives priority to the semiological structure of the signifier. This approach leads us to reexamine había- + do/-to/-cho within the signifying networks of Spanish, and to reconsider the modal structure of the verbal system. Finally, we describe the discursive syntactic behaviour of the Spanish pluperfect, in the development of narrative sequences, but also in certain Latin American diatopic occurrences (contact Spanish / Guarani in particular) since they are ‘borderline case’ among the pluperfect discursive occurrences

[pt] Esta dissertação trata da importância do significante em interpretações e construções na clínica psicanalítica, partindo do estudo de fragmentos de casos clínicos de psicanalistas como Freud, Lacan e Jean Allouch. Suas bases concentram-se na maneira como a linguagem é tomada na formulação do inconsciente por Freud e depois por Lacan. No que chama de retorno a Freud, Lacan procura recolocar a psicanálise em seu caminho: o da linguagem, relendo os textos que considera canônicos sobre os sonhos, os atos falhos e os chistes. Para realizar o estudo, segui o caminho de Lacan pela linguística com Saussure, Jakobson, Benveniste, Damourette, Pichon e outros linguistas e gramáticos que foram importantes referências em suas formulações. Procurando apreender o Freud lido por Lacan, que determinou suas reformulações na psicanálise, mais especificamente na direção do tratamento psicanalítico, atravessei também textos de Lacan nos quais ele começa discutindo a fala, no campo da linguagem, voltado para a transmissão da psicanálise e para a oposição entre duas concepções de tratamento e a formação do psicanalista. Em seus últimos seminários, acaba por decidir deixar a linguística para os linguistas e cunhar o termo linguisteria para falar de que linguagem se trata na psicanálise. A partir de fragmentos de casos clínicos, refleti acerca da relevância de determinados significantes, que aparecem durante os tempos do tratamento psicanalítico nos quais a intervenção do analista faz com que o analisante possa abandonar a fixidez de sentido e empreender o caminho de construção de seu fantasma até a sua travessia. Destaquei alguns conceitos utilizados por Freud (Wortfuge- Worfugen-Wortfügung, Wortklang, Entstellung, Konstruktion, Phantasieren, dentre outros), com os quais se quis entender a técnica psicanalítica, a partir das interpretações freudianas de sonhos, chistes e atos falhos, e avançar nas elaborações lacanianas na direção do tratamento, interpretação, ato analítico. / [en] This thesis studies the role of the signifier in interpretations and constructions in psychoanalytical treatments, taking into consideration the analysis of fragments of clinical cases from psychoanalysts like Freud, Lacan and Jean Allouch, among others. This work is based on the way language was taken by Freud and later by Lacan in the formulation of the concept of the unconscious. In Lacan s Retour à Freud he tries to put psychoanalysis back on track, the language path, by rereading the texts he considers canonical about the interpretation of dreams, parapraxis and wits. To accomplish this study, I followed Lacan s steps through linguistics with Saussure, Jakobson, Benveniste, Damourette, Pichon and other linguists and grammarians that were important to his psychoanalytical formulations. In order to understand Freud read by Lacan, which determined his reformulations on psychoanalysis, specifically in regards to treatment, I took into account texts in which Lacan begins to discuss speech, in the field of language, focused on the transmission of psychoanalysis and on the opposition between two existing conceptions of the treatment and the formation of the psychoanalyst. In his last seminars, Lacan ends up deciding to leave linguistics to the linguists and to coin the term linguistery to state which language psychoanalysis deals with. Based on fragments of clinical cases, I reflected on the relevance of certain signifiers that appear on the course of different treatments in which the analysts intervention enabled the analysand to abandon a previously fixed meaning and undertake a new way to the construction of his phantasy up to its crossing. Some of the signifiers used by Freud (Wortfuge-Worfugen- Wortfügung, Wortklang, Entstellung, Konstruktion, Phantasieren, among others) helped me understand the psychoanalytical technics through Freud s interpretations of dreams, wits, parapraxis and move on to lacanian elaborations on psychoanalytical treatment, interpretation, analytical act.

This thesis is basically an exegetical work investigating the Abraham narrative (Gen 11:27-25:11) in Genesis in a sense of a text-centered approach, which aims to the Sitz im Text not to reconstruct the early Sitz im Leben of the narrative. In other words, this study seeks primarily to interpret the final form of the narrative as the locus of revelation. Taking the adages ‘no text is an island,’ ‘let the text speak for itself’ as its point of departure, this study focuses on the question how the individual episodes in the Abraham narrative are played by texts in Genesis and in the larger literary units in the Pentateuch. In this vein, the work examines the narrative through careful attention to literary and rhetorical features such as narrative structure, recurring themes and motifs, allusion (or foreshadowing), wordplays, points of view, plot, and characterization by attempting to analyze and describe its structure and the semantics of the arrangement of source material in the pericope of the narrative. For it is believed that the literary tools used by the author (or the final composer) to establish continuity and link various constituent parts together in a unified literary composition. Seen within such a context, two methodological approaches in this study will be offered promise for discovering possible the narrative function of the Abraham cycle: intertextuality and the composition criticism. The former provides the compositional tactics mapped out by the author (or the final composer) for the recognition of narrative literary context of the Abraham narrative within the macro-structure and the micro-structure of the Pentateuch. While, the latter asks the right questions to discover textual correlations between the narrative and the rest of texts in Genesis and in the Pentateuch. As a result, this approach to the narrative reveals a distinct compositional strategy, which is to convey the author’s (or the final composer’s) theological considerations clearly and persuasively. Methodological peculiarities for reading the Abraham narrative are considered in chapter 1. Chapter 2 is to examine in detail of the inner literary arrangement of the Abraham narrative in the narrative frame of Genesis and the Pentateuch. It is followed by a discussion of the inner textual integrity of logic, and syntax of the narrative in chapter 3. The intertextual relationships between the pericope and the remaining texts in the Pentateuch will be explored by syntactically examining of the texts at semantic and thematic level. The theological considerations of the narrative proceed by these scrutinized intra/inter-textual examination of the texts. The final chapter, chapter 5, summarizes some of the advantages of applying the method to the narrative and some exegetical suggestions in terms of pre-critical angle. Please cite as follows: Hong, KS 2007, An exegetical reading of the Abraham narrative in Genesis : semantic, textuality and theology, PhD thesis, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd- etd-05262008-155326> / Thesis (PHD)--University of Pretoria, 2009. / Old Testament Studies / unrestricted

In this study, a semiotic point of view of selected literature written by ‘coloured’ writers is examined, using some of the semiotic theories of Jurij M. Lotman, one of the leading Soviet semioticians of the school of Tartu. Selected theories of Lotman are applied to ‘coloured’ literature. These include an examination of poetic language (based on Lotman’s theory of a primary and secondary modelling system), the iconicity of the text, the aesthetics of identity and opposition, the distinction between text and extra-text, and the relationship that exists between the extra-text, culture and code. The literary texts chosen for analysis are works by three contemporary ‘coloured’ writers, namely Adam Small, Peter Snyders and Robert Pearce, who have all contributed poetry, prose and drama to Afrikaans literature in general, and original Afrikaans literature in particular. The selected dramas are Joanie Galant-hulle (Small 1978), Political Joke (Snyders 1983) and Die Laaste Supper in Marabastad (Pearce 1988b)*. These writers’ works span approximately three consecutive decades and their work can be examined for commonality and differences. The three chosen dramas were written five years apart respectively; yet they reveal thematic similarities. The dramas also feature a common ‘deviant’ language code used by ‘coloured’ people and discussed in this study as original Afrikaans. This code, which is juxtaposed with standard Afrikaans, is one of the basic areas of interest that motivated the choice of subject for this study. The primary objective of this study is to examine the differentiation that Lotman makes between the various sign systems that operate in natural language (the primary modelling system) and poetic language (a secondary modelling system), and to determine whether these sign systems can be detected and are functional in ‘coloured’ literature. In addition, an investigation is made of the iconicity that operates in poetic language (which, according to Lotman, is the basis for differentiation), and to ascertain whether iconicity occurs in these examples of ‘coloured’ literature and to what extent it influences meaning. In the process, intratextual relations within the poetic text were scrutinised to establish whether the manipulation of language, devices and codes raises any particular expectation in the poetic text, and also to detect whether oppositionally constituted code-systems which set up their own patterns of expectation within the syntactic and lexical levels of the poetic text clash with and contradict prior expectations. In addition, an analysis has been made to determine whether a new understanding of the texts can be reached, based on Lotman’s aesthetics of identity and opposition, and to what extent the reader is forced to collaborate in the modelling process of the texts when the reader’s expectations are undermined by an aesthetics of opposition. The study has successfully corroborated and substantiated all the selected aspects of Lotman’s theory. The differentiation that Lotman makes between the primary and secondary language model is demonstrated especially by the iconicity that operates in poetic language. Examples are abundant in the selected literature and are conspicuous, especially through the manipulation of the language, devices and codes employed by the authors to defamiliarise objects so that they transcend their familiar characteristics and perceptions, and sometimes signify a totally new concept. In this way, readers’ expectations are subverted and they are invited to collaborate in the modelling process of the texts. These techniques are also an integral part of both the text and the extra-text, and their presence justifies Lotman’s claims that the meaning of a literary text cannot be understood outside its cultural or historical context. In retrospect, it can be argued that this research has opened up some additional avenues for an analysis of meaning in ‘coloured’ literature. / Dissertation (MA (English))--University of Pretoria, 2004. / English / unrestricted

Communication campaigns by major organizations in the field of development have been heavily dependent on humanitarian photography to motivate and attract donors. This genre of photography serves its purpose by informing, surprising and attracting the attention of a broad audience. It captures real life and real problems people in need have to deal with in remote areas of the world. This paper delves into the use of visual semiotics in the context of humanitarian photography and for the purpose of fund-raising by case study research of recent communication campaigns as implemented by major players in the field such as the International Committee of the Red Cross, the Global Fund to Fights AIDS, Tuberculosis and Malaria, Doctors without Border, CARE and Save the Children. The purpose is to identify key issues which allow for the elicitation of a sign framework specific to the fund-raising genre and its idiosyncratic use of visual signs in photography based on a broad theoretical basis of semiotics. The analysis focuses on the content and methods of signification of photography in each case study. The effectiveness of humanitarian photography and important aspects of its function is discussed in the scope of its use as a communication medium for development.

出版於一九七七年的《鬼店》為史蒂芬‧金的第三部小說，探索的為恐怖文學裡其中一種刻畫，鬼故事。雪倫‧A‧拉塞爾給了一項令人信服的理由，何以她認為《鬼店》是一則鬼故事：「在鬼故事中，恐怖的來源來自於通常出沒某個特定地點的邪惡靈魂。」然而，《鬼店》不僅僅是一部單純的鬼故事小說，根據克萊爾‧韓森與史蒂文‧布拉姆的看法，《鬼店》是一宗可從精神分析角度切入的語言學習與退化案例。 在第一章「導論」裡，我提出本文論點：能否透過清楚說出與理解能力完成符徵(signifier)與符指(signified)的連結，決定了傑克與丹尼各自的命運。第二章「方法論」由我在本文中所用的方法構成，本章說明我如何運用席格蒙‧弗洛伊德的伊底帕斯情結(Oedipus Complex)、雅克‧拉岡的想像界(Imaginary Order)、象徵界(Symbolic Order)、實存 (The Real)、語言作為大他者的論述(Language as the Discourse of the Other)、縫合點(Points de Captions)。第三章欲探討的是傑克與丹尼的伊底帕斯情結，傑克的殞落可追溯至他的童年時期，丹尼的生存則可以他的現況加以分析。第四章「似乎他的生命全靠學習閱讀才得以維持」討論丹尼如何藉由語言學習，從想像界前進到象徵界並打破托倫斯家庭特有的父子關係循環，丹尼漸漸地學習如何連結符徵與符指，清楚地說出與理解這些符指及背後的符徵為丹尼鋪了一條歧異的路，透過這條路丹尼得以存活並成長。第五章「理性的蟄伏」將探討全景飯店如何藉由大他者/小他者的論述(The Discourse of the Other/ the other)誘惑傑克，也探討傑克的瘋狂如何藉由象徵界退化至想像界表現出來，我也會藉由瘋狂的其中一種症狀，不能掌握縫合點：越來越不能連結符徵與符指的情形闡述傑克如何變得偏執於並合理化自己的不當行為，例如殺掉他的妻兒。在第六章「結論」，我將簡述前面五章的要點，幫助讀者釐清本文的宗旨。 / The Shining (1977), Stephen King’s third novel, explores one of the horror genre’s characterizations, the ghost story. Sharon A. Russell gives a convincing reason why she considers The Shining a ghost story: “In the ghost story the origin of the horror comes from evil spirits who usually haunt a specific location.” However, The Shining is not merely a simplistic ghost story. According to Claire Hanson and Steven Bruhm, The Shining is a case of language acquisition and regression from a psycho-analytical perspective. In Chapter One, “Introduction,” I issue my thesis statement that aptitude for articulation and intelligence of the signification determines each of Jack’s and Danny’s destinies. Chapter Two, “Methodology,” consists of the methodology I employ in the analysis of The Shining. That is, how I apply Sigmund Freud’s and Jacques Lacan’s theories, Frued’s Oedipus complex, and Lacan’s three orders, language as the discourse of the Other, and points de caption to this study of The Shining. The exploration of the Oedipus complex for Jack and Danny is Chapter Three’s subject matter. Jack’s downfall can be traced back to his own childhood, and Danny’s survival can be studied in terms of the exploration of his own status quo. In Chapter Four, “As though His Life Depended on Learning to Read,” I discuss Danny’s progression from the imaginary order into the symbolic order and breaking away from “the wounded father-son cycle” (Davenport) in terms of his increasing acquirement of language. That is to say, Danny learns to decipher the signifiers and to make significations between the signifiers and the signifieds. Articulation and intelligence of such signifiers pave a divergent way for Danny as a survivor and an adult in the story.” In Chapter Five, “The Sleep of Reason,” I elaborate upon how the Overlook entrances Jack by means of the discourse of the Other/evil other and how Jack’s insanity can be manifested in terms of his regression from the symbolic order into the imaginary order. I will take advantage of one of the symptoms, failing in the grasp of points de captions, increasingly failing to catch the interdependent relationship between the signifier and the signified, to expound how Jack becomes paranoid and self-justified in his wrongdoing and misbehavior, such as to murder Danny and Wendy in conformity to the former caretaker’s indication. In Chapter Six, “Conclusion,” I summarize the previous points to help the readers further understand the thesis’ purpose.

Nous exposons dans ce mémoire les principes qui fondent, au sein de la discipline des études cinématographiques, une conception théorique de la réception d’images animées reposant sur la modalité de consommation spécifique du cinéma en salle. Notre analyse d’un ensemble représentatif d’approches théoriques et historiographiques de l’expérience cinématographique permet de relever les principes qui orientent la conception de différentes formes de médialité conférées à l’expérience du cinéma en salle. Les théories du dispositif et du signifiant imaginaire de Jean-Louis Baudry et Christian Metz proposent une conception de l’expérience du cinéma en salle qui met l’accent sur les effets de transparence médiatique de certaines composantes des salles de cinéma sur les spectateurs ainsi que sur le caractère imaginaire, symbolique et institutionnel de ces médiations. La sémio-pragmatique de Roger Odin et l’approche historiographique de la New Cinema History telle que présentée par Robert C. Allen et Richard Maltby proposent une conception de l’opacité médiatique de l’ensemble complexe des effets de médiation sensorielle, relationnelle, sociale et économique de l’expérience du cinéma en salle et dont les spectateurs font l’épreuve sur toute l’étendue de ce type de site d’exploitation et sur toute la durée de son occupation spectatorielle. Au terme de notre analyse, les différents principes relevés permettent de formuler la notion d’expérience hétérotopique du cinéma pour désigner la conception de l’expérience du cinéma en salle qui caractérise la compréhension de la réception d’images animées dans le cadre des études cinématographiques. / This thesis explores how theories of moving image reception that have or have had a significant impact on the development of film studies as a discipline are centered around the movie theater and on “movie-going” practices. The analysis of a representative set of theoretical and historiographical approaches to the cinematic experience allows for the definition of key principles that unearth various forms of mediation at play in the movie-going experience. Jean-Louis Baudry’s “apparatus theory” and Christian Metz’s notion of the “imaginary signifier” both suggest a theory of movie-going experience stressing the transparency effects on spectators of the mediation of certain architectural and technological aspects of movie theaters and focusing on the symbolic and institutional nature of this form of mediation. In contrast, Roger Odin’s semio-pragmatic approach and New Cinema History’s critical historiography (as theorized by Robert C. Allen and Richard Maltby) conceptualize the opacity of a complex set of sensory, relational, social, and economic mediations occurring in movie theaters, which last during the entire experience of the audience in these exhibition sites. By unspooling the complexity of the theoretical stances above mentioned, this thesis moves towards the definition of a heterotopic cinema experience formulated from within the context of film studies.

Selon Berman, une caractéristique de la grande prose consiste à « capter et condenser tout l’espace polylangagier d’une communauté ». Certains écrivains, comme Twain, Faulkner, Steinbeck et Salinger, ont ainsi puisé dans l’ensemble des ressources de l’anglais, pour recréer des parlers vernaculaires ou des idiolectes dits « non standard ». Cette stratégie stylistique, qui engage l’auteur idéologiquement et politiquement, passe souvent mal l’épreuve de la traduction en français. La traduction de ces « écritures-déviances » pose des problèmes spécifiques tout en étant paradigmatique de la manière dont le traducteur s’inscrit dans le texte traduit : ce type de stylisation discursive offre donc une perspective privilégiée pourétudier l’action du traducteur ainsi que les stratégies qu’il met en oeuvre pour véhiculer, dans le texte traduit, le projet sthético-idéologique de l’original. Notre étude s’ouvre sur l’analyse de la nature sociolinguistique de l’anglais non standard, avant d’examiner son emploi en littérature, afin de comprendre le rapport de « tension et d’intégration » qui lie les sociolectes littéraires à la réalité linguistique dont ils sont issus. Nous explorons ensuite les mécanismesqui orientent le travail du traducteur et son traitement des écritures non standard à travers la tradition théorique et pratique de la traduction littéraire, avant d’analyser un corpus de traductions. En nous appuyant sur l’éclairage théorique de la sociologie bourdieusienne et le système analytique des « tendances déformantes » (Berman), nous analysons les stratégies de« ré-énonciation » (Folkart) adoptées par différents traducteurs et les « effets de lecture » qui en découlent. / For Antoine Berman, a major characteristic of great prose is its ability to “span the whole linguistic range of a community”. Some writers, such as Twain, Faulkner, Steinbeck and Salinger, have thus drawn on all the resources of the English language in order to recreate vernacular discourse and/or nonstandard idiolects. This stylistic strategy, which expresses theauthor’s particular ideological and political attitudes, is often lost when translated into French. Translating these “deviant” forms of writing poses specific problems while being paradigmatic of the way in which the translator is embedded in the translated text : nonstandard discursive patterns therefore provide a privileged viewpoint from which to study the translator’s action as well as the strategies he uses to transfer the original’s ideological and aesthetical dimensions to the translated text. Our study begins with a sociolinguistic analysis of nonstandard English, before examining its use in literature, in order to understand the dual dialectic of “mediation and emulation” that links literary sociolects to linguistic reality. Wethen explore the practical and theoretical tradition of literary translation to understand what factors affect the translator’s work and his/her approach to nonstandard writing. Finally, we analyse a corpus of translations: using Bourdieu’s sociological theory and Berman’s “systems of deformation” analytical system, we examine the “re-enunciation” (Folkart) strategiesadopted by various translators and the potential readings that result.

In an era when adversarial politics is condemned for either being archaic or right-wing extremism, proposing that incivility can be used to counter existing hegemonies, despite its potential to incite violence, is proposing an unorthodox project. By rejecting foundationalist approaches to the current incivility crisis, this study sees an opportunity for it to act as a populist rapture that defies simple binary categorisation and deconstructs incivility, at an ontological level, to reveal the deep meanings and concealed causes that contrast the grand narrative of hate speech. After an overview in chapter one, the study continues with a theoretical review of literature on incivility, guided by the works of radical democracy theorists who universalise what seems particular to Kenya. This review is followed by the description of Bakhtin’s concept of carnivalesque as utani, a joking relationship common in East Africa. For its theoretical perspective, the study is guided by Mouffe’s theory of agonistic democracy and a research method developed by transforming Laclau and Mouffe’s (1985) work in Hegemony and Socialist Strategy: Towards a Radical Democratic, into a method for Discourse Analysis. Various concepts from Laclau and Mouffe’s work are used to innovate an explanation of how political practices in social media, both linguistic and material texts, enhance incivility and the struggle to fix a regime’s preferred meaning. Guided by Laclau and Mouffe’s Discourse Analysis, the study describes how the government is using linguistic tools and physical technologies to repair the dislocation caused by incivility in social media in its attempts to re-create hegemonic practices. Without engaging in naïve reversal of the polarities between acceptable and unacceptable speech, and considering that at the ontological level politics is a friend—enemy relation, the study argues that incivility in social media is part of the return of politics in a post-political era, rather than simple unacceptable speech. While remaining aware of the dangers of extreme speech, but without reinforcing the anti-political rational consensus narrative, incivility is seen as having disruptive counterhegemonic potential, that is, if we consider the powerplay inherent in democracy. It means that binary opposition is blind to the way power produces, and is countered through unacceptable speech. / Communication Science / D. Litt. et Phil. (Communication Science)

Hervé de Nédellec o.p. joua un rôle de premier plan dans la défense du patrimoine doctrinal de Thomas d’Aquin contre les effets des condamnations de la fin du XIIIe siècle et du début du XIVe siècle. Il a néanmoins défendu une position sur la distinction entre l’être et l’essence divergeant sensiblement de la distinction thomasienne, alors que cet élément se présente comme central à la pensée de l’illustre dominicain. Cette étude vérifie cette divergence et en rend compte, considérant le contexte historique et le rôle assumé par Hervé dans la défense de la pensée de son confrère. Allen (1958) caractérise la perspective hervéenne par son essentialisme et son approche sémantique, ainsi que par le rejet de la distinction réelle (Gilles de Rome et Thomas d’Aquin) et de la distinction intentionnelle (Henri de Gand). Il évoque par ailleurs l’influence de Godefroid de Fontaines, de Siger de Brabant et d’Averroès au regard de la distinction entre l’être et l’essence selon le mode de signifier retenue par Hervé. Ces observations se voient ici confirmées par l’exposé et la comparaison des principes ontologiques assumés par les différentes positions. Il est par le fait même rendu manifeste que Siger de Brabant, Godefroid de Fontaines, Hervé de Nédellec et encore Dietrich de Freiberg, tenants de la distinction sémantique, rejettent les positions adverses en raison de mêmes éléments qu’ils critiquent de celles-ci. La communauté doctrinale entre la distinction selon le mode de signifier et la théorie modiste ainsi que leur source commune dans le Commentaire à la Métaphysique d’Averroès sont par ailleurs mises au jour. Les modistes distinguent le signifié principal et les propriétés concernant (circa) le signifié principal. Dans la perspective sémantique, l’essence, l’étant et l’être sont conçus comme des propriétés concernant le signifié principal à la manière des propriétés circa de la grammaire spéculative. À l’instar des propriétés circa, « essence », « étant » et « être » diffèrent non parce qu’ils signifient différentes déterminations, mais au sens où ils signifient une même chose de différentes façons. L’analyse des objections soulevées par les tenants de la distinction sémantique et des éléments constitutifs de leur position fournit des outils nouveaux pour apprécier la distinction entre l’être et l’essence chez Thomas d’Aquin. Celle-ci se révèle procéder d’un cadre théorique inconciliable avec celui adopté par Hervé de Nédellec. Nous faisons ici valoir que cette liberté doctrinale d’Hervé de Nédellec s’explique par cela que la distinction entre l’être et l’essence n’était pas constitutive du fonds thomasien concerné par les ordonnances d’enseignement dominicaines de la fin du XIIIe siècle et du début du XIVe siècle, notamment puisqu’elle n’a pas été ciblée par les condamnations doctrinales ecclésiales ni par le correctoire de Guillaume de la Mare. / Hervaeus Natalis o.p. played a leading role in defending the doctrinal heritage of Thomas Aquinas against the effects of the condemnations of the end of the 13th and beginning of the 14th centuries. Nevertheless, he would have supported a position on the distinction between being and essence which is irreconcilable with the Thomasian distinction, even though this element is central to the thought of the illustrious Dominican. The present study verifies this discrepancy and give an account of it, considering the historical context and the role assumed by Hervaeus in the defence of the thought of his confrere. Allen (1958) characterizes the Hervean perspective by its essentialism and its semantic approach, as well as by the rejection of the real distinction (Giles of Rome and Aquinas) and the intentional distinction (Henri of Ghent). He also evokes the influence of Godfrey of Fontaines, Siger of Brabant and Averroes with regard to the distinction between being (esse) and essence according to the mode of signifying adopted by Hervaeus. These claims are here confirmed by the exposition and comparison of the ontological principles assumed by the different stances. By the same token, it is made clear that Siger of Brabant, Godefroid of Fontaines, Hervaeus Natalis and also Dietrich of Freiberg, the proponents of the semantic distinction, reject the opposing positions on the basis of the same elements that they criticize in them. The doctrinal community between the distinction according to the mode of signifying and the Modist theory, as well as their common source in the Commentary on the Metaphysics of Averroes are also brought to light. The Modists distinguish between the object signified and the properties concerning (circa) the object signified. In the semantic perspective, essence, ens and esse are conceived as properties concerning the object signified in the manner of the circa properties of speculative grammar. Like the circa properties, “essence”, “ens” and “esse” do not differ because they signify different determinations, but they differ in the sense that they signify the same thing in different ways. The analysis of the objections raised by the proponents of the semantic distinction and of the constitutive elements of their position provides new tools for appreciating the distinction between being (esse) and essence in Aquinas. It proves to proceed from a theoretical framework that is irreconcilable with that adopted by Hervaeus. We argue here that this doctrinal freedom of Hervaeus is explained by the fact that the distinction between being (esse) and essence was not constitutive of the Thomasian fund concerned by the Dominican teaching ordinances of the end of the 13th and beginning of the 14th centuries, especially since it was not targeted by the ecclesial doctrinal condemnations nor by the correctory of William de la Mare.