Psalms using the language of enmity present a challenge for Christians who wish to use these psalms as prayer. This study investigates the language of enmity in Psalms 110, 119, 129, 137, 139 and 149 as Christian prayer and beyond the normal form category of lament or complaint of the individual. An argument is proposed to understand Book V of the Psalter as an integral unit, which editors have arranged to represent the post-exilic early restoration period. The study begins with an exegesis of each psalm and seeks to determine the perceived suffering of the psalmist(s) at the hands of enemies and the meaning of the responses to these adversaries. It then moves to a limited historical survey of how commentators through Church history have perceived the suffering and responses in these psalms which use language of enmity. This historical survey is used to correct or clarify the findings in the exegesis. In the third movement of this thesis, the results of the individual exegesis and historical survey of Psalms 110, 119, 129, 137, 139 and 149 are compared in order to elucidate the meaning of the language of enmity. The findings suggest that the language of enmity represents images of judgment on a recalcitrant adversary. The psalms are also investigated as prayers and as normative scripture. The use of the language of enmity in these psalms suggests a use of language that differs from normal use. In this regard the rhetorical device of synecdoche is most helpful in explaining how the texts function. The basis for the language of enmity seems to be the unchanging nature of moral evil. The study then investigates the psalms as canonical, normative prayer in order to move towards developing a theology of God’s just dealing with people and his people in particular. In this regard the psalms are approached as prayer, regardless of the voice in which they were composed. It is suggested that the text as normative prayer allows the psalmist, God, and the pray-er to inhabit and celebrate the same sacred time and space. Of particular concern is how each psalm speaks to the issue of how God engages with moral evil and the question of what can be known about moral evil. The findings suggest that these psalms are an invaluable spiritual resource for the church and should remain unaltered in their use as Christian private and public prayer. / PhD (Old Testament), North-West University, Potchefstroom Campus in cooperation with Greenwich School of Theology, 2015

Psalms using the language of enmity present a challenge for Christians who wish to use these psalms as prayer. This study investigates the language of enmity in Psalms 110, 119, 129, 137, 139 and 149 as Christian prayer and beyond the normal form category of lament or complaint of the individual. An argument is proposed to understand Book V of the Psalter as an integral unit, which editors have arranged to represent the post-exilic early restoration period. The study begins with an exegesis of each psalm and seeks to determine the perceived suffering of the psalmist(s) at the hands of enemies and the meaning of the responses to these adversaries. It then moves to a limited historical survey of how commentators through Church history have perceived the suffering and responses in these psalms which use language of enmity. This historical survey is used to correct or clarify the findings in the exegesis. In the third movement of this thesis, the results of the individual exegesis and historical survey of Psalms 110, 119, 129, 137, 139 and 149 are compared in order to elucidate the meaning of the language of enmity. The findings suggest that the language of enmity represents images of judgment on a recalcitrant adversary. The psalms are also investigated as prayers and as normative scripture. The use of the language of enmity in these psalms suggests a use of language that differs from normal use. In this regard the rhetorical device of synecdoche is most helpful in explaining how the texts function. The basis for the language of enmity seems to be the unchanging nature of moral evil. The study then investigates the psalms as canonical, normative prayer in order to move towards developing a theology of God’s just dealing with people and his people in particular. In this regard the psalms are approached as prayer, regardless of the voice in which they were composed. It is suggested that the text as normative prayer allows the psalmist, God, and the pray-er to inhabit and celebrate the same sacred time and space. Of particular concern is how each psalm speaks to the issue of how God engages with moral evil and the question of what can be known about moral evil. The findings suggest that these psalms are an invaluable spiritual resource for the church and should remain unaltered in their use as Christian private and public prayer. / PhD (Old Testament), North-West University, Potchefstroom Campus in cooperation with Greenwich School of Theology, 2015

Ce mémoire cherche à dégager les mécanismes et outils narratifs utilisés par les suspenses afin de configurer la tension narrative au cinéma. Le premier chapitre analyse la fonction de la synecdoque et de la métonymie dans la configuration d’un espace-temps tensif. Ainsi, l’exposition d’un danger enclenche une situation narrative incertaine dans laquelle le spectateur s’identifie au personnage menacé et vit avec lui son angoisse. À partir de définitions générales et de nombreux films tels que Jaws et The Matrix, le deuxième chapitre s’aventure à la recherche de récurrences thématiques et esthétiques dans le but de légitimer un genre ambigu. Le troisième chapitre introduit la démarche créative et la recherche en création. Le scénario Les saisons parfaites, un suspense psychologique, évoque L’enfer de Claude Chabrol et Black Swan de Darren Aronofsky. Donc, ce mémoire se demande comment s’articule la tension narrative et comment définir l’identité générique du suspense? Ce dernier existe-t-il seulement? Si oui, à quoi sert-il de l’étudier? / This thesis focuses on the mecanisms and narrative tools used in suspense and thriller films. The first chapter analyzes the function of the synecdoche and metonymy and their role in filmic time-space. The presence of danger triggers incertainties for the viewers that are bound to the endangered character. Then, following larger definitions and numerous films such as Jaws and The Matrix, the second chapter tries to find recurring thematic and aesthetic elements. The purpose of this approach is to legitimate a genre that might not be one. Finally, the third and last chapter, introduces the creative part of this work. A screenplay, The Perfect Seasons (Les saisons parfaites), a psychological suspense, is inspired by Darren Aronofsky’s Black Swan and Claude Chabrol’s L’enfer. This thesis asks how does work narrative tension in films and how is it possible to define suspense as a genre? Does this genre exists? If so, why is it important to study it?

A metáfora do mundo como um palco está presente no imaginário humano há muitos séculos, o que se pode ver nas obras artísticas e filosóficas, de Cícero a Shakespeare: o mundo é representação. O presente estudo propõe-se a analisar interdisciplinamente os desdobramentos das metáforas do teatro e do cinema, na exploração do espaço da metrópole, tendo como corpus o romance Cidade de Vidro, de Paul Auster (1999) e a narrativa fílmica Sinédoque Nova York, de Charlie Kaufman (2008). Para tal, procuramos os teóricos da metáfora, tendo como principal deles Hans Blumenberg, fundador da Metaforologia, Paul Ricoeur e Derrida, em estudos especialmente dedicados a essa figura de linguagem. As metáforas, contudo, se realizam em um determinado espaço, o da metrópole, e para nos guiarmos em seus caminhos, elegemos os estudiosos da nova geografia cultural, dentre os quais Paul Claval, Mathias Le Bossé e Denis Cosgrove. Na correlação da cidade com o teatro, apontaremos a própria história da criação do teatro ocidental como o principal ponto de partida para as ramificações de tal mimetismo. Para o estudo específico do espaço da metrópole, contamos com Walter Benjamin e seus seguidores. Os estudos benjaminianos serão também de vital importância para a compreensão da relação entre cinema e metrópole, relação essa que também foi aclarada pelo questionamento de Nietzsche sobre a verdade. Não foi nossa intenção comparar as obras aqui analisadas em seus planos narratológicos, mas articular dois textos regidos por códigos e procedimentos artísticos parecidos, mas, ainda assim diferentes. Buscamos apontar como as relações teatrais e cinemáticas na metrópole, fragmentada como o próprio homem que nela se perde, provocam uma suspensão da fronteira entre realidade e ficção / The metaphor of the world as a stage has been present in human imagination for centuries. This can be seen in the artistic and philosophical works from Cicero to Shakespeare: the world is representation. This study aims to examine, in an interdisciplinary way, the ramifications of the metaphors of the theatre and the cinema, exploring the space of the metropolis. The corpus for the study consists of the novel City of Glass by Paul Auster (1999) and the filmic narrative Synecdoche New York by Charlie Kaufman (2008). To this end, we present theorists of the metaphor, having as the main source Hans Blumenberg, the founder of Metaphorology, Paul Ricoeur and Derrida, especially the studies that focus on this figure of speech. Metaphors, however, take place in a certain space, the metropolis, and to be guided in their ways, we elected the new cultural geography researchers, Paul Claval, Mathias Le Bossé and Denis Cosgrove among them. For the relation between the city and the theatre, we consider the creation story of the western theatre as the main starting point for the ramifications of such mimicry. To study the specific space of the metropolis, we count on Walter Benjamin and his followers. Benjaminian studies will also be of vital importance for our understanding of the relationship between the cinema and the metropolis. That relationship has also been explained in Nietzches questioning of the truth. It was not our intention to compare the works analyzed here in their narratology plans and techniques. Rather, we aimed at relating two texts governed by similar but yet different codes and artistic procedures. We seek to show how theatrical and cinematic relations in the metropolis, fragmented as the man lost in it, cause a suspension of the border between reality and fiction

La relativa sistematización de la actuación de la metonimia, siendo un procedimiento creativo para la renovación semántica del léxico, es el punto de partida de esta Tesis, que propone un modelo de seguimiento de la repercusión de la metonimia sobre el léxico del español actual. La Tesis se estructura en cuatro partes, a las que se suman las conclusiones. En primer lugar, se introducen los objetivos y metodología del trabajo, así como la perspectiva adoptada con relación al cambio lingüístico: nos planteamos un estudio sincrónico, según los patrones sistemáticos de actuación del procedimiento. En la segunda parte, desarrollamos una lingüística de la metonimia, superando las restricciones que imponía su caracterización en los tratados retóricos como figura de significación aplicada ad hoc sobre el léxico. Para esta lingüística es medular la condición de contigüidad semántico-referencial en el marco de actuación del procedimiento, que está constituido por un entorno sintagmático infra-discursivo en el que se tiene una categorización lingüística del continuum del mundo. La actuación sistemática de la metonimia tiene que ver con la previsibilidad de las relaciones de contigüidad que perturba en este sintagma virtual. La proyección en el nivel sintáctico discursivo de estos desórdenes relacionales ocasiona incompatibilidades semánticas como resultado de una sustitución paradigmática que otorga a la metonimia su dimensión de tropo. Otros tropos y figuras retóricos, como la sinécdoque, la metalepsis y la hipálage, son caracterizados asimismo en esta parte como procedimientos metonímicos, en tanto que implican una transferencia denotativa, si bien se señalan las condiciones específicas que los diferencian de la metonimia, ya sean relativas al tipo relacional perturbado, o a las características de los polos denotativos relacionados. Especial atención hemos otorgado a la elipsis, por su convergencia con la metonimia cuando genera léxico autónomo y, por tanto, adquiere una dimensión trópica. En la tercera parte, y como resultado de la descripción del procedimiento, delimitamos los parámetros de observación de la metonimia en un diccionario, según su manifestación en los distintos niveles lingüísticos, y los aplicamos también a la relación entre acepciones, estudiando la que se ha llamado metonimia polisémica. A continuación, presentamos los índices lexicográficos para su identificación en el Diccionario del español actual (1999) de Manuel Seco, Olimpia Andrés y Gabino Ramos, que constituye nuestro corpus de estudio. Estos índices nos han proporcionado un patrón de seguimiento de la metonimia en el estado de lengua que recoge este diccionario, lo que ha hecho posible la creación de una base de datos informatizada que constituye la cuarta parte de la Tesis: LexAMET, donde se tiene una recopilación de más de 2.000 palabras del español con una o varias acepciones metonímicas, extraídas de una muestra de 21.000 palabras de nuestro corpus. En esta base de datos clasificamos los cambios semánticos atendiendo al procedimiento metonímico que ha actuado: metonimia, sinécdoque, elipsis metonímica, símbolo metonímico, metalepsis, hipálage, metalogía. Con LexAMET se tiene un recurso lingüístico para la identificación de la intervención de la metonimia en un estado de lengua del español. / This thesis deals with the sistematization process of metonymy as a creative process for the semantic renewal of lexicon. The project proposes a monitoring model to assess the impact of metonymy in contemporary Spanish lexicon.The thesis is structured in four parts plus the final conclusions. In the fist part, our aims and methodology are detailed, together with our view on the linguistic change. We develop a synchronic study, according to the systematic patterns by which the metonymy process acts.In the second part, we develop a metonymy linguistic, going beyond the classic limitations that appeared in theoretical works which considerer metonymy as a meaning figure applied ad hoc to the lexicon.The key for this linguistic is the semantic-referential continuity condition in the acting framework of the process. This process is built by an under-discursive syntagmatic setting where a linguistic categorization of the world's continuum is established. The systematic acting of metonymy is closely linked with the foreseeable continuity relationships that this virtual syntagm disturbs. The projection of these relationship disturbances in the syntactic discursive level produces semantic incompatibilities as the result of a paradigmatic substitution that makes metonymy acquire its trope dimension. Other tropes and rhetorical figures, such as synecdoche, metalepsis and hypallage, are considered as metonymic processes as they imply a denotative transference. We highlight, however, the specific conditions that differentiate them from metonymy, whether the conditions regard the relational type under disturbance or the characteristics of the denotative poles under relation. Ellipsis has been paid special attention, as it overlaps with metonymy when generating autonomous lexicon, thus acquiring a trope dimension. In the third part, and as a result of the process description, we establish the descriptive parameters of metonymy in a dictionary, according to its manifestation in various linguistic levels, and we apply them to the relationship between meanings, studying what has been called polysemic metonymy. Following this study, we show the lexicographic rates for the identification of metonymy in the Diccionario del español actual (1999), by Manuel Seco, Olimpia Andrés y Gabino Ramos. This dictionary makes up our corpus in the study.These rates have provided us with a monitoring pattern of metonymy in the Spanish language recorded in this dictionary, what has allowed us to create an electronic database to which we have devoted the fourth part of our study: LexAMET. This database compiles more than 2000 Spanish words with one or more metonymic sense, taken from our 21000 words corpus.In this database we classify the semantic changes according to the metonymic process in action: metonymy, synecdoche, metonymic ellipsis, metonymic symbol, metalepsis, hypallage, metalogy. LexAMET can be thus defined as a linguistic resource for the identification of metonymy in the Spanish language.

Ce mémoire cherche à dégager les mécanismes et outils narratifs utilisés par les suspenses afin de configurer la tension narrative au cinéma. Le premier chapitre analyse la fonction de la synecdoque et de la métonymie dans la configuration d’un espace-temps tensif. Ainsi, l’exposition d’un danger enclenche une situation narrative incertaine dans laquelle le spectateur s’identifie au personnage menacé et vit avec lui son angoisse. À partir de définitions générales et de nombreux films tels que Jaws et The Matrix, le deuxième chapitre s’aventure à la recherche de récurrences thématiques et esthétiques dans le but de légitimer un genre ambigu. Le troisième chapitre introduit la démarche créative et la recherche en création. Le scénario Les saisons parfaites, un suspense psychologique, évoque L’enfer de Claude Chabrol et Black Swan de Darren Aronofsky. Donc, ce mémoire se demande comment s’articule la tension narrative et comment définir l’identité générique du suspense? Ce dernier existe-t-il seulement? Si oui, à quoi sert-il de l’étudier? / This thesis focuses on the mecanisms and narrative tools used in suspense and thriller films. The first chapter analyzes the function of the synecdoche and metonymy and their role in filmic time-space. The presence of danger triggers incertainties for the viewers that are bound to the endangered character. Then, following larger definitions and numerous films such as Jaws and The Matrix, the second chapter tries to find recurring thematic and aesthetic elements. The purpose of this approach is to legitimate a genre that might not be one. Finally, the third and last chapter, introduces the creative part of this work. A screenplay, The Perfect Seasons (Les saisons parfaites), a psychological suspense, is inspired by Darren Aronofsky’s Black Swan and Claude Chabrol’s L’enfer. This thesis asks how does work narrative tension in films and how is it possible to define suspense as a genre? Does this genre exists? If so, why is it important to study it?

A metáfora do mundo como um palco está presente no imaginário humano há muitos séculos, o que se pode ver nas obras artísticas e filosóficas, de Cícero a Shakespeare: o mundo é representação. O presente estudo propõe-se a analisar interdisciplinamente os desdobramentos das metáforas do teatro e do cinema, na exploração do espaço da metrópole, tendo como corpus o romance Cidade de Vidro, de Paul Auster (1999) e a narrativa fílmica Sinédoque Nova York, de Charlie Kaufman (2008). Para tal, procuramos os teóricos da metáfora, tendo como principal deles Hans Blumenberg, fundador da Metaforologia, Paul Ricoeur e Derrida, em estudos especialmente dedicados a essa figura de linguagem. As metáforas, contudo, se realizam em um determinado espaço, o da metrópole, e para nos guiarmos em seus caminhos, elegemos os estudiosos da nova geografia cultural, dentre os quais Paul Claval, Mathias Le Bossé e Denis Cosgrove. Na correlação da cidade com o teatro, apontaremos a própria história da criação do teatro ocidental como o principal ponto de partida para as ramificações de tal mimetismo. Para o estudo específico do espaço da metrópole, contamos com Walter Benjamin e seus seguidores. Os estudos benjaminianos serão também de vital importância para a compreensão da relação entre cinema e metrópole, relação essa que também foi aclarada pelo questionamento de Nietzsche sobre a verdade. Não foi nossa intenção comparar as obras aqui analisadas em seus planos narratológicos, mas articular dois textos regidos por códigos e procedimentos artísticos parecidos, mas, ainda assim diferentes. Buscamos apontar como as relações teatrais e cinemáticas na metrópole, fragmentada como o próprio homem que nela se perde, provocam uma suspensão da fronteira entre realidade e ficção / The metaphor of the world as a stage has been present in human imagination for centuries. This can be seen in the artistic and philosophical works from Cicero to Shakespeare: the world is representation. This study aims to examine, in an interdisciplinary way, the ramifications of the metaphors of the theatre and the cinema, exploring the space of the metropolis. The corpus for the study consists of the novel City of Glass by Paul Auster (1999) and the filmic narrative Synecdoche New York by Charlie Kaufman (2008). To this end, we present theorists of the metaphor, having as the main source Hans Blumenberg, the founder of Metaphorology, Paul Ricoeur and Derrida, especially the studies that focus on this figure of speech. Metaphors, however, take place in a certain space, the metropolis, and to be guided in their ways, we elected the new cultural geography researchers, Paul Claval, Mathias Le Bossé and Denis Cosgrove among them. For the relation between the city and the theatre, we consider the creation story of the western theatre as the main starting point for the ramifications of such mimicry. To study the specific space of the metropolis, we count on Walter Benjamin and his followers. Benjaminian studies will also be of vital importance for our understanding of the relationship between the cinema and the metropolis. That relationship has also been explained in Nietzches questioning of the truth. It was not our intention to compare the works analyzed here in their narratology plans and techniques. Rather, we aimed at relating two texts governed by similar but yet different codes and artistic procedures. We seek to show how theatrical and cinematic relations in the metropolis, fragmented as the man lost in it, cause a suspension of the border between reality and fiction

Cet essai explore les singularités du nom propre, à la fois propriété d’un x et désignateur de l’x nommé. Le nom porté par l’x n’est pas tout à fait le nom qui réfère à cet x, et l’on envisage la propriété dénominative « être appelé Npr » aussi bien d’un point de vue « ontologique » que d’un point de vue linguistique. La dissociation des deux « parties » du nom propre permet de reprendre la question de son « sens » (sens du nom propre qui réfère à l’x, signification du nom porté par l’x), avant que soient examinées certaines des constructions dites « modifiées » du nom propre. On essaie de montrer que trois types de concepts (individuel, dénominatif, non dénominatif) échelonnent un continuum qui mène du nom propre au nom commun.On propose également une analyse des noms propres du type « le Philosophe », « la Ville Lumière » ou « le Docteur angélique », qu’on considère habituellement comme des surnoms. Un examen diachronique du terme d’« antonomase » précède une réhabilitation de l’antonomase de nom commun destinée à identifier un seuil dénominatif en synchronie. / This essay explores the singularities of the proper name, which is both owned by x and refers to x. The name which x bears is not exactly the name that refers to that x and I’ll try to describe the denominative property « being called N » from an « ontological » as well as a linguistic point of view. The dissociation of the proper name’s two parts allows us to reconsider the question of its « meaning » (meaning of the proper name which refers to x and what the name that x bears signifies), before some proper names’ constructions, that are deemed « modified », are examined. I’ll try to show that three types of concepts (individual, denominative and non denominative) stratify a continuum that leads from proper names to common nouns.In a second time, I’ll try to analyze proper names such as « the Philosopher », « the City of Life » or « the Angelic Doctor », that are usually considered as nicknames. A diachronic study of the word « antonomasia » precedes a rehabilitation of the antonomasia of common noun, which aims at identifying a synchronic denominative level.

Selected fashion houses that exclusively offer luxurious goods use specific form of promotion of their products. Each house usually holds onto traditions of its country and features essential for its own brand while creating new collections. From the point of view of neo-rhetoric it would be appropriate to analyze visual advertisements of the houses (Chanel, Dolce & Gabbana, Burberry) if they create certain models via them. The main advertising campaigns for the spring/summer 2011 season were chosen for this comparison. Under the terms of observation and semiotic analysis of the fashion advertisement focused on rhetoric figures it can be proved that individual fashion houses aim their attention to how their potential customers' thinking is influenced by their advertising. The model of Roland Barthes is used for the analysis of chosen visual advertisements. Out of all rhetorical tropes the attention is paid to main four - visual metaphor, metonymy, synecdoche and irony. Fashion advertising meets unwritten norm that sets a target to convince the customer of suitability of the products for him.

The diploma work "The differences between perception of metonymy in photography and in movies from the perspective of reception aesthetics" deals with different uses of the figure of speech - metonymy - in visual communication. The metonymy is primarily used as an ornamental device of language expression. It is also distinguishable in purely visual information that is provided in photography and certain film shots. In visual communication, metonymy is also used for embellishing of the visual content or, at least, its correction. This work is focused especially on these examples of the use of metonymy that employ the method of reception aesthetics, which was up to now applied only to literary works. The subjects of interest of the reception aesthetics are so- called places of indeterminacy and the horizon of expectation which is also the focus of this work in addition to its main focus on metonymic expression in movies and photography. The first part of this work deals with the theory of the reception aesthetics and its main exponents. The second part deals with the relationship between the recipients and the media, specifically photography and movie. The last part of this work deals with the theory of rhetorical figures, particularly metonymy and its special form - synecdoche, and it's application...