Ce travail vise à déterminer s’il existe ou non une norme du subjonctif en français préclassique, et dans l’affirmative de la décrire et de la saisir. D’un point de vue morphologique, on constate que le français préclassique simplifie les paradigmes du subjonctif par un effet d’analogie, alors que l’ancien français avait tendance à les différencier nettement de l’indicatif. Nous noterons de plus l’importance du yod « désactualisant » qui se généralise aux première et seconde personnes du pluriel, devenant le marqueur privilégié de l’indétermination. La syntaxe du subjonctif de cette période se caractérise par une exceptionnelle liberté, la seule règle suivie par le locuteur étant d’utiliser le subjonctif lorsque l’énoncé appartient au « monde des possibles » et l’indicatif lorsqu’il entre dans le « monde du probable » (terminologie empruntée à Robert Martin). Aussi, tout au long de la période préclassique le système modal ne connaît aucune servitude grammaticale, n’obéissant à aucune règle mécanique mais seulement à des tendances et à une concordance d’ordre cinétique et modal. Malgré cette autonomie, le subjonctif est souvent écarté au bénéfice de l’indicatif, auquel nous incluons la forme en –rais, quand le discours ne traduit aucun effet stylistique ou rhétorique, car l’indicatif indique précisément le temps sur la chronogénèse. En revanche l’image temporelle du subjonctif est incomplète et insécable, « amorphe » et « in fieri » (terminologie de Gustave Guillaume). Pourtant, malgré cette inhérente imprécision temporelle, le subjonctif demeure irremplaçable en français préclassique pour son extraordinaire poésie. / The purpose of this work is to determinate whether or not a method of subjunctive mode existed in Preclassic French, and in the affirmative, to describe and to explain it. From a morphological point of view, we notice Preclassic French was the age of simplification and analogy, while medieval system was marked, on the contrary, by a tendency to differentiate the subjunctive’s forms in a characteristic way. Besides, the presence of the yod at first and second plural persons becomes widespread, expressing in a better way the indetermination and “desactualisation” compared to the medieval system devoid of the yod. Regarding the syntax of the subjunctive mode during this period, it is characterized by an incredible freedom: the only rule actually followed by the speaker consisted, in case of doubt, in using the subjunctive tense, the “world of the possible”, in opposition to the “world of the likely” which is specific to the indicative mode, both concepts belonging to Robert Martin’s terminology. All along the aforesaid historical period, it is particularly interesting to see to what extent the modal system remains free from restrictive grammatical regulations. Indeed, the subjunctive mode doesn’t obey mechanical rules, except some tendencies. It only obeys kinetic and modal concordances. Despite its autonomy, subjunctive mode was nevertheless frequently ruled out to the benefit of indicative mode, including the “forme en –rais”, especially when authors showed no interest in stylistic or rhetorical effects. In a matter of fact, while indicative mode gives a precise indication of the time, mental representation of the verb within the subjunctive has the distinctive characteristic to be incomplete and indivisible as well, qualified as “amorphe” and “in fieri” according to Guillaume’s terminology. However, despite its inherent temporal imprecision, writers of that time widely used the subjunctive mode, judged exceptionally poetic and therefore irreplaceable.

Essa dissertação apresenta um estudo do poema Memórias do boi Serapião, de Carlos Pena Filho, publicado em 1956. Sob a perspectiva da Estilística, o estudo aponta como a seleção de elementos lingüísticos contribui para a construção de sentido e expressividade do poema, mais especificamente na caracterização dos espaços \"campo atual\" em relação ao \"campo da infância\", guardado na memória. A personagem central e eu lírico do poema é o boi Serapião, que lança um olhar sobre as imagens pictóricas do passado: \"um campo verde e mais verde\", a \"rede azul do terraço\", as filhas banhando-se no rio contrapondose à imagem de um \"campo vasto e cinzento\", de \"homens secos e compridos\", de mulheres com vestidos desbotados e \"crianças feitas de farinha e jerimum\". Paralelamente, essas imagens contrastantes vividas pelo eu lírico são um convite ao leitor a partilhar das experiências do boi na \"terra do não chover\". / This dissertation shows a study of the poem Memórias do boi Serapião from Carlos Pena Filho published in 1956. Under the perspective of the Stylistic, the study appears with the selection of linguistic elements it contributes to the sense construction and expressiveness of the poem more specifically in the characterization of the spaces \"current field\" in relation to the \"field of the childhood\", kept in the memory. The central character and the lyrical subject of the poem it is the ox Serapião, that launches a glance on the pictorial images of the past: \"a green and greener field\", the \"blue net of the terrace\", the daughters taking a bath in the river opposing to the image of a \"vast and gray field\", of \"dry and long men\", of women with faded dresses and \"children done of flour and pumpkin\". Parallel, those contrasting images lived by the lyrical subject they are an invitation to the reader to share the experiences of the ox on the \"earth it does not rain\".

Nous avons entrepris, dans ce travail doctoral, une analyse stylistique du dialogue polémique, appliquée à un corpus littéraire à tendance philosophique : celui de l’œuvre philosophique de Voltaire. Nous avons accordé une attention particulière au style du polémiste aux dépens de ses idées philosophiques, maintes fois étudiées dans d’autres travaux. Le dialogue polémique dans l’œuvre philosophique de Voltaire n’est pas un simple procédé littéraire ; il constitue l’essence même de l’œuvre. La thèse comprend trois parties :L’analyse que nous avons effectuée dans la première partie de notre travail doctoral met avant tout l’accent sur la spécificité formelle du dialogue polémique et surtout sur sa nature conflictuelle, tout en examinant la manière dont il s’articule avec des genres littéraires divers et les différentes formes du discours qu’il revêt. La polémique s’engage quand les interlocuteurs admettent des thèses opposées et que chacun suppose que le discours adverse est mal déduit et fondé sur des faux raisonnements : distanciation et défense sont donc interdépendantes. C’est pour cette raison que nous avons entrepris, dans la deuxième partie de notre travail doctoral, une étude sur le fonctionnement de l’argumentation dans le dialogue polémique voltairien. Le détournement est une spécificité stylistique chez notre polémiste, qui dévoile sa présence constante dans ses écritures philosophiques. Dans ce sens, il nous a paru nécessaire d’étudier, dans la troisième partie de notre travail doctoral, le style détourné dans les œuvres philosophique de Voltaire tout en soulignant l'ambiguïté énonciative qui s’attache à ses différentes figures. / In this doctoral work, we have undertaken a stylistic analysis of polemical dialogue, applied to a literary corpus with a philosophical tendency: that of Voltaire's philosophical work. We have paid particular attention to the style of the polemicist at the expense of his philosophical ideas, often studied in other works. The polemical dialogue in Voltaire's philosophical work is not merely a literary process; It is the very essence of the work. The thesis consists of three parts:The analysis that we carried out in the first part of our doctoral work focuses above all on the formal specificity of polemical dialogue and especially on its conflictual nature, while examining the way it articulates with various literary genres And the different forms of discourse it assumes.Polemicism begins when the interlocutors admit opposing theses and each assumes that the opposing discourse is wrongly deduced and based on false reasoning: distancing and defense are therefore interdependent. For this reason, in the second part of our doctoral work, we undertook a study on the functioning of the argument in the Voltairian polemical dialogue.The diversion is a stylistic specificity in our polemicist, who reveals its constant presence in its philosophical writings. In this sense, it seemed necessary to study in the third part of our doctoral work the diverted style in Voltaire's philosophical works, while underlining the enunciative ambiguity attached to its various figures.

Tourist texts provides information to a wide variety of readers. The main functions of these texts is typically to be both informative and persuasive. When translating a tourist text, the translator should not only maintain these two functions in the target text, but is also faced with the challenge of adapting the text to the premises of the target culture.      The aim of this study is to identify the characteristics of the cultural aspects related to history and religion, as well as the stylistic features in the tourist text Los Caminos del Norte a Santiago. The techniques used in the translation of these aspects from the original spanish cultural context to the new swedish target culture are also studied, more specificly which ones of these translation techniques are the most frecuently used and why.      A cualitative as well as a cuantitative analysis of our translation has been carried out, which indicates that the translation techniques most commonly used regarding the translation of the cultural aspects related to history and religion was amplification and modulation. These were used, for example, in order to compensate for the lack of previous knowledge of the Spanish culture amongst the target text readers. Regarding the adaptation of the style to the target context, modulation and especially generalization was the most commonly used translation techniques. This is due to the intention of making the text less formal and poetic so as to better adjust to the target culture and its textual conventions.

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The Formative Period in the Central Coast: IntroductionThe text doesn´t have an abstract / El texto no presenta resumen

Diploma thesis deals with methods of communication and stylistic education at the elementary school, specifically in the second class. The main aim is to create a stack of methods for this subject which will be effectively applicable in practice. The task is divided into theoretical and empirical part. The theoretical one has six chapters. Five of them characterize notions connected to the topic, definitions, conception of communication and stylistic education in past and nowadays. They also submit principles, content and goal of this component. The sixth chapter presents different categorization described in scholarly literature. It compares described systems and it apprizes with available methods. The empirical part is dedicated to the stack of communication and stylistic education methods that is possible to use in specific lessons. It has been based on analysis of scientific literature, own class observation and it is complemented by innovative teaching methods. In the end of thesis we discuss about available material for teachers, the efficiency of created method, advantages of created stack and its usage in future.

The presented master's thesis is concerned with the specifics of the Spanish language in the sphere of social networks. In the theoretical part, we define key concepts, while the attention is particularly aimed on previously published studies with similar topic, features of Spanish used on social networks and stylistic factors. The second part of the thesis is practical. In this part, we aim to prove that linguistic features typical for the sphere of social networks should not be perceived as mistakes or ignorance of the writers but rather as manifestations of stylistic factors.

Este trabalho apresenta análises estilísticas e espaciais da arte rupestre de cerca de cem abrigos do alto-médio São Francisco (norte mineiro e sudoeste baiano), desenvolvidas com o objetivo de elaborar um quadro crono-estilístico do registro rupestre regional que possa subsidiar estudos de correlação entre seqüências estratigráficas e seqüências estilísticosucessórias. As análises tomaram por base as classificações existentes para a arte rupestre do Brasil Central e da região (tradições Agreste, São Francisco, Nordeste e Complexo Montalvânia), visando a discutir a operacionalidade da metodologia classificatória vigente e o alcance interpretativo destas categorias de análise. As análises resultaram na definição de diversos estilos sucessivos, sendo alguns deles possivelmente contemporâneos. A seqüência sucessória estilística foi comparada à seqüência estratigráfica regional, utilizando as datações absolutas e relativas disponíveis para balizar uma periodização inicial da arte rupestre do norte mineiro. Essa periodização - ainda hipotética em função das datações disponíveis se referirem a apenas dois dos doze estilos identificados - mostra que a arte rupestre do Holoceno médio responde por vários estilos associados, que não podem ser seguramente organizados em seqüência sucessória e que podem ter sido praticados em contemporaneidade. O estudo da variação estilística nas dimensões gráfica, temporal e espacial (em pequena e grande escala) mostrou que estilos distintos por critérios temáticos interconectam-se e articulam-se em outras dimensões. A observação de diferenças relevantes entre estilos, relativas a atributos temáticos, localização dos painéis nos abrigos e dos abrigos na paisagem regional, sugere a existência concomitante de repertórios temáticos complementares na arte rupestre do Holoceno médio, integrando um complexo sistema de representações visuais. O estudo sugere que a utilização da usual categoria “tradição” como parâmetro de análise dificulta, em vez de favorecer, a organização do registro rupestre, na medida em que direciona a pesquisa para os padrões de similaridade. Em análises focadas nestes padrões, os contrastes e as diferenças entre expressões são mascarados e ofuscados. Expressões estilísticas tematicamente distintas podem estar conectadas de modo complementar, tornando necessário investigar as relações entre estilos caracterizados por temáticas distintas, avaliando suas semelhanças e dissimilaridades, antes de atribuí-los a tradições também distintas / This work is the result of a research in rock art stylistics and space analyses of about one hundred shelters from the region of Alto-médio São Francisco (north of the brazilian state of Minas Gerais and southwest of the state of Bahia), with the objective of elaborating a chrono-stylistic relative picture of the regional rock-art register that could support correlational studies of stratrigraphics and successory stylistics sequences. The analyses developed were based on the existing rock art classifications of Central Brazil and region(Agreste, São Francisco, Nordeste and Complexo Montalvânia traditions), and were aimed at discussing the operationality of the given classificatory methodology and the interpretative reach of these categories of analysis. The stylistics and space diachronic analyses resulted in the definition of diverse successive styles, some of them possibly contemporaries. The successory stylistic sequence was compared to the regional stratigraphic sequence using the absolute and relative datings available as bollards to develop an initial rock-art periodization of the northern region of the state of Minas Gerais. This periodization – still hypothetical, once the the available datings are related to only two of the twelve identified styles – shows that the middle Holocen rock art stands for several associated styles that cannot be surely organized in a successory sequence and that might have been practiced at the same time. The study of the stylistic variation in its graphical, temporal and spacial aspects (in small and great scale) has showed that styles that are considered distinct because of thematic criteria in fact interconnect and articulate each other in other dimensions. The observation of relevant differences between styles, as well as of oppositions between the thematic attributes of localization in the shelters and the shelters in the regional landscape, suggests the simultaneous existence of complementary thematic repertoires in the middle Holocen rock art, composing a complex system of visual representations. The study suggests that, instead of improving the organization of the rock art register, the use of rock-art traditions as a parameter for analysis makes this organization more difficult, in as much as it directs the research to standards of similarity. In analyses focused in these standards, the contrasts and the differences between expressions are masked and dimmed. Thematicly distinct stylistics expressions can be connected in important and complementary ways, making it necessary to investigate the relations between styles characterized by distinct thematic characteristics and to evaluate their oppositions and disimilarities before attributing them to distinct traditions.

Orientador: Anna Christina Bentes da Silva / Dissertação (mestrado) - Universidade Estadual de Campinas. Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-15T22:27:31Z (GMT). No. of bitstreams: 1 Nogueira_CassiaMichelaAlves_M.pdf: 1194631 bytes, checksum: 27b6a381ecfe70d3198616d45ab53f95 (MD5) Previous issue date: 2010 / Abstract: This research investigates the "parodic stylization", as described by Bakhtin ([1975]1988), made by Brazilian comedians on the radio show "Os manos". The analyzed corpus is composed by 16 comic sketches. The sketches" characters live in a poor neighbor of São Paulo city (Brazilian favela). In this research, data is analyzed using both "sociological poetics" (Bakhtin) and "theory of practice" (Bourdieu). The main objective of this work is to describe and analyze the social meaning of stylistic variation that occurs on sketches" dialogs. On the analysis, this work focuses on the following: (1) describing the linguistic variables used to create characters" linguistic style; (2) investigating the association of those linguistic variables and discursive practices which creates character?s social identity. It is found that comedians creates characters" linguistic style by selecting stigmatized linguistic variables which are linked to stigmatized social practices, so parodic stylization, as an image of another's language, reflects social agency which involves the deployment and the construction of social meaning / Mestrado / Linguistica / Mestre em Linguística