Rozprawy doktorskie na temat „Contributions in Romance philology”

Perlmutter (1971)'s seminal work on clitics has set much of the research model for ensuing studies. Despite enormous changes in linguistic theory over the intervening period, models in which clitic order is determined on the basis of grammatical person remains a key ingredient of most analyses. A key tenet of the current proposal is that clitic-forms may perform more than one syntactic function, reflected in their position within an elaborated series of feature projections including heads, not only for VP argument referents but also non-argumental datives and nominative actors. Surface clitic patterns are merely sequential spell-outs of this structure. There is no need for clitic re-ordering at a morphological or syntactic level. The proposed model requires no complex exclusion or conversion mechanisms nor sophisticated syntactic processes, whilst being iconic and, therefore, learnable without the need for prior knowledge e.g. Universal Grammar constraints. The model has no need of lexicalized units, treating all clusters as purely compositional sequences directly interpretable from context. Giving each 'case' its own position leads to a simple and coherent model readily applicable across Romance. The work addresses 1-/2-/3-/4-clitic clusters in French, Italian, Spanish, Occitan, Catalan, and Romanian in their various dialect forms, whilst briefly illustrating many other Romance dialects.

Cette thèse se donne pour objet la rédaction d’un dictionnaire des noms de lieux d’un territoire gascon. Ce travail exige une réflexion sur les pratiques disciplinaires en microtoponymie romane. Il s’avère, après analyse,que les modèles offerts restent insuffisants. Nous proposons une refonte méthodologique en privilégiant le recours aux acquis de la lexicogaphie. Nos sources documentaires placent à égalité les deux piliers de la recherche que sont la documentation écrite et le discours oral recueilli lors d’enquêtes réalisées auprès des locuteurs. Nos enquêtes ont connu un prolongement inattendu avec la mise en place progressive d’un travail d’investigation linguistique et ethnographique et de diffusion dans le département des Hautes-Pyrénées.L’élaboration de notre dictionnaire microtoponymique aboutit à une nomenclature de 1198 noms répartis sur un domaine de 27,7 km2, ce qui correspond à une moyenne de 43 noms / km2 (17 noms / km2 sont en usage en2009). Nous présentons chaque fois que cela est possible le nom de lieu en contexte. La rédaction de notre dictionnaire a donné lieu à de multiples observations d’ordre linguistique, sur les faits de langue ou de graphie,historique, ethnographique et sociolinguistique. Une base de données permet d’appréhender en diachronie et en synchronie la nature et la fonction des microtoponymes : motivation, création et effacement, densité, etc.D’indispensables index sont confectionnés et prennent place à la fin de notre thèse afin de permettre plusieurs types d’accès aux informations
This thesis consists in the redaction of a dictionary about names of places of a gascon territory. This work requires a reflection about the disciplinary practices in Roman microtoponym. After the analysis, the offered models remain not enough. We propose a methodological combination which privileges the acquired tools of lexicography. Our documentary sources put at the same level the two pillars of researches, which are the written documentation and the oral speech gathered by the means of questionnaires given to the speakers. Our questionnaires suffered an unexpected prolongation with the progressive creation of a linguistic and ethnographic research and it diffusion in the Hautes-Pyrénées department.The elaboration of our microtoponym dictionary brought to a nomenclature of 1198 names distributed on adomain of 27,7 km2 which correspond to an average of 43 names/km2 (17 names/km2 are in use in 2009). Eachtime we present that the name of places is possible in given context. The redaction of our dictionary has givenplace to multiple observations under a linguistic order, about the facts of language or about the graph, history,ethnography and sociolinguistic. A data base allows us to understand the nature and function of themicrotoponyms in diachrony and synchrony: motivation, creation and elimination, density, etc. In our thesissome indispensable indexes are confectioned and given in order to allow several types of access to information

MS Glasgow Hunter 252 is the sole surviving manuscript copy of the 'Cent Nouvelles Nouvelles'. The present PhD thesis, funded by a Glasgow University Scholarship and supervised by James Simpson and Peter Davies, explores the language of this collection of bawdy tales, attributed to the court of Philippe III de Bourgogne (1396-1467). Most existing studies on the language of the 'Cent Nouvelles Nouvelles' have offered a literary (e.g. stylistic, narratological) perspective, and very few have considered the document within the wider context of French historical linguistics. The present thesis aims to fill this gap by: •Presenting elements of linguistic interest within the document (dialectalisms, archaisms, rare features, cultural references, etc.), through a comprehensive survey of phonology, morphology, syntax and vocabulary. •Expanding and reassessing existing theories on orthographic standardisation and dialectal input in written and, more speculatively, spoken Middle French. •Providing scriptological evidence towards the localisation of other textual resources within the online 'Dictionnaire du moyen français (1330-1500)'. •Investigating the authenticity of the mise-en-scène of the 'Cent Nouvelles Nouvelles'; reflecting on linguistic practices and note-taking at the Court of Burgundy. •Exploring spoken language as rendered by direct speech passages, with special consideration of linguistic variation and stereotyping. •Publishing textual databases for future analysis (tables of main spelling variants, alphabetical list of words, etc.).

This thesis considers the post-war œuvre of Louise Weiss through the analytical framework of the travel narrative. The primary sources for this study comprise the substantial number of previously unexamined journal articles, photographic collections, monographs, and short documentaries which Weiss wrote following her journeys throughout Asia, North America, Africa, and the Middle East in the twenty-five years after the Second World War. Previously defined by her early career as a journalist, her lifelong advocacy for peace, and her campaigns for women’s suffrage during the interwar period, this study positions Weiss in a new narrative – that of post-war travel writer with a desire to discover a moral code that would mitigate the turbulence and fragility she perceived in the twentieth century. The analysis of this considerable body of source material is approached through the themes of spirituality, myth, and power. These themes, which emerge organically from Weiss's multi-media post-war œuvre, offer a fresh perspective on the French post-war travel narrative and allow a new understanding of both the traveller’s gaze and the notion of displacement.

This thesis examines the two literary genres of romance and chick lit with regards to the treatment of relationships, career, sexuality, consumerist culture and beauty industry as represented in Lynne Graham’s An Arabian Courtship, Eve Gladstone’s Between two Moons, Lauren Weisberger’s The Devil Wears Prada and Marian Keyes’s Sushi for Beginners. Lynne Graham (b. 1956) is a popular Northern Irish author of over sixty romance novels. After the first unsuccessful attempt to be a writer Lynne Graham got married to a man she had loved since her teens. When their first daughter was born Graham began writing again, this time with success. The novel An Arabian Courtship is about a young female protagonist, Polly, who is arranged to marry an Arab prince Raschid. Eve Gladstone’s Between Two Moons is a Harlequin romance written by two authors, Joyce Gleit and Herma Werner. Both Gleit and Werner are married and worked in the fashion industry before becoming romance writers. Eve Gladstone is the name of their writing team. The novel is about a young and successful career woman, Kelly, in charge of a big store Lambs. Suddenly she realizes that her store has been sold to Tony Campbell, a handsome, charming and enigmatic man. Lauren Weisberger (b. 1977) is the writer of the contemporary new woman’s fiction (called as chick lit genre). Her first job as the assistant to the editor-in-chief of Vogue, Anna Wintour, influenced her to write The Devil Wears Prada. This novel was her first book... [to full text]
Šiame baigiamajame magistriniame darbe nagrinėjami du literatūros žanrai – tradicinis meilės romanas ir šiuolaikinis moterų romanas. Lynne Graham „An Arabian Courtship“ ir Eve Gladstone „Between Two Moons“ yra tradiciniai meilės romanai, o Lauren Weisberger „The Devil Wears Prada“ ir Marian Keyes „Sushi for Beginners“ yra šiuolaikiniai moterų romanai. Šie romanai yra analizuojami norint atskleisti jau minėtų žanrų panašumus ir skirtumus atsižvelgiant į pagrindinių herojų tarpusavio santykius, karjera, lytiškumą, jų santykį su vartotojiška kultūra ir grožio pramone. Romano „Between Two Moons“ autoriai – Joyce Gleit ir Herma Werner. „Eve Gladstone“ buvo pasirinkta slapyvardžiu. Abu rašytojai yra sutuoktiniai, kurį laiką dirbę mados industrijoje, vėliau nusprendę rimtai atsiduoti rašytojo karjerai. Romanas „Between Two Moons“ pasakoja apie jauną, sėkmingą, karjeros siekiančią moterį, kuri vadovauja prekybos centrui „Lambs“. Staiga ji suvokia, kad parduotuvė parduota pasiturinčiam ir žavingam anglui vardu Tonny Campbell. Lynne Graham (1956) yra populiari Šiaurės Airijos autorė, išleidusi daugiau kaip šešiasdešimt romanų. Pirmasis bandymas tapti rašytoja buvo nesėkmingas, todėl Lynne Graham panėrė į šeimyninį gyvenimą: ištekėjo už vyro kurį mylėjo nuo pat paauglystės, susilaukė dukros. Pabandžiusi rašyti dar kartą Graham sulaukė sėkmės. Jos romanas „An Arabian Courtship“ atskleidžia jaunos merginos vardu Polly istoriją. Ši netikėtai sužino, jog yra pažadėta Jungtinių Arabų Emyratų... [toliau žr. visą tekstą]

This study proposes a methodology that combines techniques from corpus linguistics with theory from the Discourse-Historical Approach (DHA) to Critical Discourse Analysis (CDA). The methodology is demonstrated using a corpus comprising transcripts of Hugo Chávez’s television programme, Aló Presidente, broadcast between January 2002 and June 2007. In this thesis, I identify a number of criticisms of CDA and suggest that corpus linguistics can be used to reduce the principle risks: over-/under-interpretation of data and ensuring that the examples used are representative. I then present a methodology designed to minimise these effects, based upon a hypothesis that semantic fields are used more frequently in periods when they are topical, and therefore one can isolate instances which were produced at times of change. I use the Aló Presidente corpus to present a detailed description of three such semantic fields and then adopt the concept of discourse strategies from the DHA to demonstrate how Chávez’s framing of the topics changes with time. This leads to a set of conclusions which seek to answer the research question: How is life in Venezuela framed as having changed under Chávez’s Presidency by reference to his Aló Presidente television programme during the period 2002-2007?

Many studies have investigated third language acquisition (L3A) as an independent area of research. The core common interest of these studies has been to search for the source of cross-linguistic influence (CLI) among the previously acquired languages (i.e. L1 and L2) in the learning of an L3. In the domain of morpho-syntax, three competing hypotheses have emerged: one attributes a primary role to the L1 as the source of CLI (Jin, 2009; Hermas, 2014); a second proposes the L2 as the main source of transfer (Bardel and Falk, 2007; Falk and Bardel, 2011); while a third considers that the order of acquisition per se is not the significant factor triggering CLI in L3A, but rather the degree of typological proximity between the L1/L2 and the L3 (Rothman, 2011, 2013, 2015). This study set out to test these hypotheses in the learning of L3 French by two groups: L1 speakers of Spanish and L1 speakers of Turkish, both of whom had learned English as an L2. Each group was further sub-divided by their L2 proficiency into lower intermediates (LIs) and advanced (Adv). Using a ‘mixed methods approach’ consisting of quantitative and qualitative instruments, the acquisition of four morpho-syntactic properties was investigated: (i) Gender, (ii) Number Concord, (iii) Definiteness/Specificity and (iv) Verb Raising. Results were consistent with the proposal of Rothman (2011, 2013, 2015); (psycho)typological proximity seems indeed to be a determining factor triggering CLI in L3A. However, unlike Rothman, who always advocates holistic typological proximity, this study found evidence for CLI based on property-by-property structural similarity. In particular, it is argued that in the absence of clear holistic typological similarity, structural similarity on a property-by-property basis (actual and perceived) is the driving variable for CLI at the initial state of L3A. These findings led to the proposal of a new model entitled the property-based structural proximity (PSP) hypothesis.

This work attempts to bring together the descriptive concerns of translation studies with the awareness of the multisemiotic nature of the dramatic text. The question of the relationship between written text and performance, which is central to theatre semiotics and to the most recent debates on drama and theatre translation, complements the descriptive approach to the analysis of translated texts. By bringing in the dimension of performance as part of the source material that is carried over in the exchange of dramatic texts across cultures, this work attempts to provide a model for the analysis of dramatic texts which are very reliant on performance practices. The study thus takes the form of a historical investigation of the translation and reception of a semiotically highly complex text: Goldoni's Servitore di due padroni. The case studies of four successive translations of II servitore in Britain explore the changing theatrical and literary norms to which translators through the ages have been bound by the expectations both of their audiences and the literary/theatrical establishment. Each chapter is based on the use of archival material and introduces a different type of translation: covert translation (Chapter Four), philological translation aimed at the acceptance of the text within the literary canon (Chapter Five), translation into dialect as a way of reclaiming national identity (Chapter Six), and collaborative translation where translator, adaptor, director and actor are seen to be contributing to the rewriting of the text in translation (Chapter Seven). Looking at translation from the perspective of the relationship between text and performance makes the study of the translation of drama very relevant to current debates in translation studies as a whole. By questioning the completeness and authority of the source text and showing how performance traditions, acting styles as well as travelling productions affect the translation and reception of dramatic texts, the exploration of II servitore in translation challenges any unproblematic notions of source text from which to begin the process of translation and offers a model for the study of translated drama that allows for the fluidity of the correlation ofperformance and textuality.

This thesis is concerned with Spanish weak dative pronominals. Similar elements-generally labelled as clitics- in many languages have been focus of much research in Linguistics. The present study, however, abstracts away from classic approaches that had the external form of clitics as their main focus and provides description and analysis of very specific uses of dative pronominal items, namely when they appear on ditransitive constructions, with psychological predicates or in a configuration where they are not lexically specified in the valency of the verb, the so-called non-selected datives. The analysis of the dative in ditransitive constructions is twofold. We claim that the distribution of the dative in such configurations has semantic and syntactic implications. The presence of the dative pronoun is becoming grammaticalised and provides an entailment of affectedness. In instances of clitic doubling where we have both the pronoun and a noun phrase, we are treating the pronoun as the element that the predicate subcategorises for and the noun phrase is linked to it through information structure. This analysis is quite innovative as it ensures both elements are linked but they retain syntactic independence, in contrast with their treatment in previous approaches. With psychological predicates, we are concerned with what the status of the dative marked argument is; as previous approaches have contradictory views of it as subject or object. We analyse this dative with the tools provided by Lexical Mapping Theory and disagree with previous accounts by proposing an analysis of this dative as OBJɵ. With regards to non-selected datives in Spanish, they have not been widely discussed in the literature. We describe the different types and propose a finer grouping based on their ability to be treated as derived arguments. We sketch an analysis that adds a dative argument to the valency of a predicate through a lexical operation.

The published work submitted herewith involves the application of Relevance theory (as a theory of verbal communication) to the description of Galician and Spanish, and to translation. The phenomena studied within these areas are examined from the point of view of language use. This allows us to see them together as instantiations of language and thus as being theoretically and fundamentally of a kind. As a result, they are also subject to the same principles of communication. The theoretical approach used and applied throughout is that of Relevance theory. This approach allows for an explanatory theory of verbal communication, which encompasses the two areas under study and thus provides a unitary theoretical framework to account for the phenomena examined. The various aspects of language description and translation explored here are therefore seen as instances of verbal communication to be studied precisely under a single general theory (and not as instances of different fields that should be examined by different theories). This submission is structured in three parts. The first part involves an introduction to the publications submitted, which includes a brief literature review. This review provides an overview of the most important approaches to communication, including the code mode, the Gricean approach and the approach adopted here, namely, Relevance theory. This introductory part also includes a discussion of the overall coherence of the publications submitted, together with their impact and contributions in the wider context of the field of study. The second part of this submission deals with applications of Relevance theory to the description of Galician and Spanish in a range of areas, including prepositional direct objects, presuppositional effects, interpretive use of language, and non-declarative sentences. In all these cases, current approaches are reviewed and critiqued, and alternative accounts are provided as applications of the theoretical framework provided by Relevance theory. The third and final part of this submission deals with applications of Relevance theory to translation in a number of areas, including interlingual interpretive use of language, interlingual enrichment, interlingual impoverishment, and degrees of acceptability in translation. One of the main themes in common between all these areas is the notion of discrepancy between original and target texts in translation. It is shown that many of these translation discrepancies arise from the gap found in verbal communication between what is encoded and what is communicated. Some of the most important types of gap that exist in verbal communication are examined in detail and their impact on translation explored throughout.

The present study was carried out to investigate the possible effects of two types of form-focused instruction (henceforth FFI) on the acquisition of a specific feature of the Italian verbal morphology system: namely the future tense, which has hitherto never been researched within this framework. Processing instruction was compared to a more traditional type of grammar instruction output-based. The impact of these two types of FFI was investigated on a well documented strategy (Musumeci 1989) used by second language (henceforth L2) learners when interpreting tenses. This strategy consists in giving precedence to lexical items (in this case temporal adverbs, i.e. oggi, domani) over morphological markers during learner's interpretation of tenses. In order to carry out this investigation, first year students (39 subjects) in their second semester, learning Italian at the University of Greenwich were randomly assigned to three groups. One group received processing instruction, which involved grammar explanation and comprehension practice directed at altering the way second language learners process input and make correct meaning-form connections; the other group received output-based type of instruction which consisted in an explanation of grammar rules followed by written and oral practice which was directed at altering the way L2 learners produce the target language; the third group was used as a control group and received no instruction. The groups were exposed to two consecutive days of instructional treatment and pre-tests and post-tests were carried out. The tests consisted of an aural interpretation task, a written completion text and an oral limited response production task. A delayed post-test was also administered to assess the possible effects of instruction after three weeks. Based on previous research carried out in a feature of Spanish (Cadierno 1993) verbal morphology, it was hypothesised that processing instruction would have positive effects on the accuracy with which subjects interpreted sentences in Italian (future tense vs present tense) in which temporal reference is only expressed by verb morphology. It was also hypothesized that the effects of processing instruction would be visible on the production of both the written and the oral task. A further hypothesis was that the effects of instruction would/hold over a post-test session three weeks later. Overall the statistical analyses carried out on the data supported the three hypotheses of this study. The results obtained in this research provide some evidence that processing instruction has positive effects on the acquisition of Italian verbal morphology, these effects being greater on the developing system of beginners, L2 learners, than output-based instruction. However the output-based group performed better than the control group in the interpretation task. This is an interesting finding as it was not hypothesised, but is likely to have significant implications for further research within this framework. The present study also showed that processing instruction was successful in altering the way in which learners processed the input and its effects had also an impact on the way learners produced future tense at sentence level in both a written and an oral production task. Finally, these effects were proved durable over a three week period. The results obtained in the present study have implications at two levels. At the theoretical level this study provides further support for the role that input processing plays in SLA. At the pedagogical level it demonstrates the effectiveness of processing instruction not only on an interpretation task but also on a written and oral production task. This is further evidence of the suitability of this pedagogical approach to encourage linguistic competence among L2 learners.

This variationist sociolinguistic study investigates language change in the Francoprovençal speaking communities of les monts du Lyonnais in France, and the Canton of Valais in Switzerland. In Chapter 1 we give a brief overview of Francoprovençal, and outline the parameters of the study. Chapter 2 presents an overview of where Francoprovençal has come from and why it is so controversial. Beginning with its origins, we give a brief history of dialectalisation for our fieldwork areas, before discussing Francoprovençal as an exceptional case in the Romance linguistic literature. Case studies on language maintenance and shift are presented in Chapter 3, where we contextualise our study on Francoprovençal and the emergence of the 'Arpitan' revitalisation movement. We argue that Francoprovencal does not quite fit the mould of other multidialectal contexts such as Breton or Corsican. Chapter 4 outlines the methods employed in undertaking the empirical and ethnographic fieldwork for the study. In Chapters 5, 6, and 7 we examine each of the linguistic variables in the study in relation to a number of extra-linguistic factors. Our findings indicate that, while older traditional speakers produce localised dialectal variants in a more monitored speech style, there is variation. Conversely, the new speakers not only show substantial linguistic divergence from other speakers in the sample, but also from each other. We present evidence to suggest that the pan-regional norm is having some impact on language use. In Chapter 8 we focus specifically on the Arpitan movement and its effects, asking in what ways a commitment to the revitalisation cause is driving change for some participants in the study. A novel Arpitan Engagement Index is employed to assess the extent to which speakers are connected with the movement and how this correlates with language use: we focus on the social significance of a series of 'new' Arpitan forms. We terminate with our conclusions in Chapter 9, where we advance a number of hypotheses in relation to language change in the communities under investigation. In particular, we suggest that convergence is taking place in the direction of both national and regional norms. Lastly, we suggest avenues for future research trajectories.

This thesis examines the syntax of the sentence and the style of three of Alberto Arbasino’s early works: Le piccole vacanze (1957), Il ragazzo perduto (1959) and Fratelli d’Italia (1963). The period in which these works were written and published was one of great linguistic changes, with Italian starting to become the language spoken by the majority of the population and the consequent formation of a new variety, the italiano dell’uso medio. This social evolution has also consequences for the language of narrative: whereas some authors embrace the lingua media and a clear, communicative style (stile semplice), others reject it and opt for linguistic experimentation. Although Arbasino is typically placed in this second slant of narrative writing, one cannot so easily assign him to a group or stream, since from the beginning of his career he developed a personal poetics influenced by modernist writers, as well as his own ideas on language and style. The aims of this study are first of all to chart the birth and diachronic evolution of Arbasino’s style, and evaluate the influence of his syntactic choices on it. Then investigate how the syntax of each work compares to the lines of development of contemporary Italian and to the language of contemporary narrative. My analysis begins with a comprehensive outline of the features of contemporary Italian and of the styles of writing in post-war narrative, ending with a focus on the character of Arbasino’s poetics and ideas on language and style in the decade 1954-1964. A brief chapter then illustrates the methodology used, based on quantitative analysis of syntactic aspects, and clarifies terminology. Thereafter, the core of the thesis is composed of three case studies that examine thoroughly the syntax of the sentence and other important syntactic devices of the three works separately, comparing data with corpora of Italian and with studies on narrative language. Finally, a concluding chapter highlights the lines of development of syntax and style in the three works. On the basis of this research, it is clear that the syntax of the sentence places Arbasino among experimental writers tending to break with the linguistic standard. Moreover, Arbasino’s syntactic choices in the three works reflect an increasing distance from traditional literary modes of representation and the progressive affirmation of his own literary project, founded in the poetics of realismo critico.

The aim of the thesis is to analyze certain stylistic as well as thematic aspects in prose fiction. The analysis focuses on the representation of relationships and mystique with regard to the use of punctuation, repetition and other forms of figurative language in both original and translation of romances Black Rose (2005) and Red Lily (2007) by Nora Roberts. The analysis is based on the theory of romance novels and the use of stylistic aspects in representation of the themes relationships and mystique. The paper is divided into five parts and includes appendices. Part One introduces the aim of the paper and gives a short summary of the romance novels Black Rose (2005) and Red Lily (2007) by Nora Roberts. Part Two presents the theory of romance as well as the role of mystique in romance, and outlines the theoretical background for the analysis. Part Three focuses on the theoretical aspects of theme and style and the translation problems in prose fiction, namely in the romance novels. An analysis of the cases found in the two romance novels is presented in Part Four where Chapter 4.1 focuses on the use of style in representing the theme of mystique and translation problems. Chapter 4.1 is further subdivided into Section 4.1.1 which dwells on the usage of repetition, Section 4.1.1 analyzes the use of other forms of figurative language, and Section 4.1.3 focuses on the use of punctuation patterns. Chapter 4.2 is devoted to the stylistic aspects representing the theme of... [to full text]
Šio darbo tikslas - išanalizuoti tam tikrus stilistinius ir teminius aspektus grožinėje literatūroje. Daugiausia dėmesio skiriama tarpusavio santykių ir mistikos elementų vaizdavimui, naudojant skyrybos, pakartojimo ir kitus vaizdingos kalbos elementus Nora Roberts romanuose “Juodoji rožė” (2005) ir “Raudonoji lelija” (2007). Analizė yra pagrįsta romano teorija ir stilistiniais aspektais, vaizduojant mistikos ir tarpusavio santykių temas. Darbą sudaro penkios pagrindinės dalys ir du priedai. Pirmojoje dalyje pristatomas darbo tikslas ir pateikiamos trumpos knygų santraukos. Antrojoje dalyje pristatoma romano teorija ir mistikos elementų romane reikšmė, o taip pat pateikiama teorinė medžiaga, kuria bus remiamasi praktinėje dalyje. Trečioji dalis dėmesį skiria teoriniams temos ir stiliaus aspektams ir jų vertimo problemoms grožinėje literatūroje, šiuo atveju, romanams. Ketvirtoje dalyje pateikiama pavyzdžių , rastų Nora Roberts romanuose „Juodoji rožė“ (2005) ir „Raudonoji lelija“ (2007), analizė. Skyrius 4.1 dėmesį skiria mistikos temos vaizdavimui ir jo vertimo problemoms. Skyrius 4.1 yra suskirstytas į poskyrius, kur poskyris 4.1.1 nagrinėja pakartojimų naudojimą, poskyris 4.1.2 nagrinėja kitas vaizdingos kalbos formas, o poskyris 4.1.3 dėmesį kreipia į skyrybos problemas. Skyrius 4.2 nagrinėja stilistinius aspektus vaizduojant tarpusavio santykių temą. Poskyriuose 4.2.1, 4.2.2 ir 4.2.3 nagrinėjami pavyzdžiai su pakartojimais, kitomis vaizdingos kalbos formomis ir... [toliau žr. visą tekstą]

This thesis aims to investigate the nature of ideologies of language, and specifically to understand what kinds of linguistic, social, political and historical factors impact upon and inform ideologies of standardisation. I consider the particular case of the Spanish language, and examine how public debates in Spain’s press constitute discursive sites in which the ideologies of language authorities are evidenced. There are few studies which identify and critique the social actors in Spanish standardisation, and this thesis is a contribution to addressing that absence. By adopting a Critical Discourse Analysis approach , I seek to relate the microstructures of texts from two of Spain’s best-selling daily newspapers (El País and ABC) to the socio-political macrostructures in which press discourse is produced, and in which hegemonic ideologies underpin debates about Spanish. The press is a crucial vehicle of transmission in which language ideologies are staked out, and the large data corpus allows me to identify recurring aspects of discourse which become ‘naturalised’ and form ‘common sense’ beliefs about Spanish, its role, its authorities, and the practices of those who ‘guard’ the language. The principal guardian of Spanish, the Real Academia Española (RAE), is the particular focus of this thesis. I interrogate RAE discourse and shed light on this institution’s role in producing and maintaining a ‘standard’ Spanish in the contemporary context. Discourses of language unity and community are central, as are themes which form a vision of Spanish on an international scale. I argue that the RAE’s discourse serves to reinforce its authority and leadership in standardisation. I further argue that this centralisation of linguistic authority is occurring simultaneously with a rescaling and expansion of standardisation practices which go beyond the nation-state paradigm in pursuit of a ‘total Spanish’ guided by ‘panhispanic norms’. The role of other elite institutions in the panhispanic language policy is also legitimised in press discourse, with important social, cultural and commercial implications for not just Spain, but the entire Spanish-speaking world.

Ce travail consiste en une vue multiperspective sur le Moniage Guillaume long, chanson de geste composée dans le dernier quart du XIIe siècle et transmise par 7 manuscrits. Cette thèse est divisée en trois sections : 1) étude philologique ; 2) édition critique, annexe et glossaire ; 3) étude des systèmes narratifs et des modèles de culture, qui émergent dans les deux branches principales de l’œuvre (Moniage ‘proprement dit’ et branche d’Ysoré). La première section est divisée en trois chapitres : Dans le premier, j’ai cherché de souligner les problèmes liés au rapport entre le Moniage Guillaume long (MGl) et le Moniage Guillaume bref (MGb). L’étude se poursuit avec une description des manuscrits qui transmettent le MGl et ensuite avec une présentation de la recensio, suivie par la proposition d’un nouveau stemma codicum, assez différent de celui disposé par le premier éditeur de cette chanson (W. Cloetta, 1906-1911). Une étude de la versification du poème achève le chapitre. Dans le deuxième chapitre, on introduit l’édition critique. D’abord, la discussion critique des deux précédentes éditions du MGl (Cloetta, Andrieux-Reix 2004), toutes les deux dépassées du point de vue méthodologique. Les principes de ma nouvelle édition sont donc exposés : Je propose une reconstruction du ‘subarchtype/adaptation’ A. Par la suite, les critères de transcription et la structuration de l’apparat critique sont exposés. L’apparat est fortement novateur : complexe mais simple à décoder, il est organisé en trois sections. Dans la première, j’ai présenté les interventions correctrices sur le ms. A4 (mon ‘manuscrit de référence’). La deuxième section est divisée en deux ‘champs’, à gauche et à droit : le premier contient la varia lectio de l’entière tradition ; le deuxième montre les ‘macro-variantes’. En outre, le champ droit de l’apparat est lié au texte critique par un système de ‘réclames’ ; de cette manière, le lecteur sera, espère-t-on, orienté plus aisément, dans une sorte de ‘triangulation’ parmi le texte et les deux champs de l’apparat. Le troisième chapitre consiste en une étude du ms. A4 et il est composé d’un paragraphe codicologique, d’une étude des enluminures et d’une brève analyse linguistique. La deuxième section du travail comprend l’édition critique du MGl, suivie par une annexe et un bref glossaire. La troisième section vise à analyser les modèles narratifs de deux branches du poème (la première et la dernière, les deux indubitablement ‘originaires’). L’analyse est fondée sur base morphologique : j’ai essayé de souligner les isomorphies entre ces récits et le 'meta-plot' défini par V. Propp dans son Morphologie du conte. J’ai utilisé le schéma de Propp pour orienter mon analyse : à chaque rencontre avec des fonctions narratives, j’ai tenté de renforcer l’étude avec des dossiers anthropologiques, en soulignant, en plus, l'interconnexion parmi les dimensions historiques et historico-littéraires. Parmi les travaux de Propp, ma référence a été l’œuvre Les racines historiques du conte merveilleux. Dans la clôture du chapitre, j’ai étudié l’entrelacement des ‘modèles du carnaval’ et des ‘modèles rituels’ qui émergent de la première branche, tout comme les indicateurs de ‘familiarisation’ (Bachtin) dans les deux branches extrêmes. Le focus central a été le rôle ‘à deux tranchants’ de la représentation de la nourriture : élément de familiarisation et, au même temps, ‘relais objectale’ de lutte idéologique. À cet égard, certains épisodes ont été privilégiés : l’analyse de la bagarre conventuelle, qui achève la première branche, a donné le ton de la recherche. L’étude a été donc étendue à la rencontre entre Guillaume et les larrons et à la première expérience du héros au sein de l’abbaye (laisses VII-XVII)
This work aims at presenting a muliperspectival view on Le Moniage Guillaume long, chanson de geste composed in the last quarter of XIIth century and transmitted by seven manuscripts. My work is divided in three main sections: 1) Philological study; 2) Critical edition, annex and glossary; 3) Study of the narrative models and of the cultural models, which emerges in the two main branches of the poem (Moniage ‘proprement dit’ and branche d’Ysoré). The first section is divided in three chapters: In the first chapter, some of the issues related to the connection between Moniage Guillaume long (MGl) and Moniage Guillaume bref (MGb) are studied. The study proceeds with a description of the manuscripts through which the MGl is transimitted, then with a presentation of the recensio, followed by the proposal of a new stemma codicum, rather different from the one provided by the first editor of the chanson (W. Cloetta, 1906-1911). A study of the versification of the poem concludes this chapter. In the second chapter, the critical edition is introduced. I start from the critical discussion of the two previous editions of the MGl (Cloetta 1906-1911, Andrieux-Reix 2004), both methodologically outdated. The principles of my new edition are therefore outlined: I propose a reconstruction of the ‘subarchetype/adaptation’ A. Subsequently, the transcription criteria are exposed as well as the critical apparatus. This apparatus is highly innovative: it is organized in three sections. In the first of them, the corrective interventions on A4 (my manuscript de référence) are pointed out. The second section is divided in a left and a right field: the first one contains the varia lectio of the whole tradition; the second one shows the ‘macro-variants’ (verses belonging to the others subarchetypes, omissions of A and of the others subarchetypes, inversions etc.). Further, the right field is linked to the critical text with a réclames system; in this way the reader will be more easily oriented, in a sort of ‘triangulation’ between text, right field and left field of the apparatus. The exposition of the ratio of the reconstructive interventions concludes the chapter. The third chapter consists in a study of the ms. A4 and it is composed of a codicological paragraph, a study of the enluminures, and a linguistic study. The second section of my work consists in the critical edition of MGl , followed by an annex and a little glossary. The third section consists in the study of the narrative models of the poem’s first and last branches (the two undoubtedly ‘originals’). The analysis relies on a morphological basis: the adhesion of the récits to the meta-plot enucleated by V. Propp in his Morphology of the fairy-tale is certified. I used the Propp’s scheme as a guide for my narrative analysis: whenever I found out a narrative function, I substantiated the study with anthropological dossiers, pointing out the interlink between the historical and historico-literary dimension. Among Propp’s works, my ideal reference of The Historical Roots of the Wonder Tale. In the concluding part, the interweaving of ‘carnival models’ and ‘ritual models’ emerging in the first branche is studied, along with ‘familiarizing’ (Bachtin) indicators in the first and in the last branche. In particular, the main focus is the double-edged role of the representation of food: ‘familiarizing’ element and objectual relais of ideological struggle at the same time. In this regard, certain episodes have been privileged: the analysis of the conventual bagarre, which concludes the first branche, will set the pace of the research. The study is then extended to the meeting between Guillaume and the robbers and to the first experiences of the hero within the abbey (laisses VII-XVII); some class dialectics proper to the Central Middle-Ages (relationship between great aristocracy, monks and sergents) are underlined in this part

Dentre os meios utilizados para enriquecer os quadros dos paradigmas das flexões verbais nas línguas românicas, destaca-se o emprego de construções de caráter vulgar: as perífrases. Essas formas verbais compostas apresentam, por vezes, divergências relevantes entre as línguas românicas, como a construção ir (presente de indicativo) + infinitivo. Enquanto a língua portuguesa emprega essa perífrase para denotar noção de futuro, a língua catalã, ao contrário, utiliza-a para fazer referência a uma ação pretérita. Tendo em conta as demais línguas românicas, pode-se averiguar que é o catalão que faz uma exceção ao uso de ir+ infinitivo. Apesar de ter seu uso proliferado, o emprego da perífrase catalã não é consenso entre as suas variantes dialetais: enquanto a maior parte privilegia o uso da perífrase, em detrimento da forma simples de pretérito, uma pequena parte dá maior ênfase à forma sintética ou mescla as variantes. Ainda que a questão da coincidência formal da perífrase conduz a uma importante estranheza semântica em relação a outras línguas românicas, o escopo da pesquisa se mantém na comparação entre a língua portuguesa e catalã, colocando em xeque a relação dicotômica norma/ uso. Uma análise sob a perspectiva diacrônica poderia apresentar respostas satisfatórias para se chegar ao entendimento do tratamento e da história dessas perífrases nas duas línguas.
Among the means used to broaden the paradigm of verbal inflections in romance languages, the employment of constructions that are vulgar in character is noteworthy: the periphrases. The compound verb forms present, at times, significant differences between the romance languages, such as the construction ir (indicative present tense) + infinitive. Whereas in Portuguese such a pattern is employed to denote future, Catalan uses it to refer to past actions. All romance languages considered, it can be verified that Catalan is the only language that makes this exceptional use of ir + infinitive. In spite of its widespread use, the employment of the Catalan periphrasis is not a consensus amongst its dialects: while the majority of them make use of the periphrasis instead of the simple past form, a small part of them prefer to use the synthetic form or both interchangeably. Although the matter of the formal coincidence of the periphrasis leads to important semantic awkwardness in relation to the other romance languages, the scope of this work is the comparison between Portuguese and Catalan languages, calling into question the norm/usage dichotomy. An analysis in diachronic perspective could lead to satisfactory understanding of the treatment and history of these periphrases in both languages.

O objetivo deste trabalho é estudar as preposições de três línguas: latim, português e romeno. Divide-se, assim, em duas partes: uma teórica e outra, exemplificativa. Na primeira parte, após a exposição do método, comparativo e diacrônico, e do objeto de estudo, a língua e não a norma (segundo definição de COSERIU), desenvolve- se sucintamente um levantamento do uso dos termos \\\"preposição\\\" e \\\"prefixo\\\" desde sua criação até os dias atuais. Parte-se, depois, para uma definição de ambos os termos e para a delimitação de seu uso. Cita-se, então, o problema dos falsos prefixos, das preposições acidentais e das locuções prepositivas. : Feita a . distinção formal entre preposição, prefixo e advérbio, inicia-se uma explanação dos planos semânticos: espacial, temporal, biossocial e gramatical. O plano espacial será ó plano básico, a partir do qual se derivarão todas as demais idéias. Elenca-se e explica-se, enfim, certo número de passos do raciocínio (\\\"orientações semânticas\\\"). Na segunda parte, são apresentados os exemplos dos quais se deduziu a teoria da primeira parte e os oito capítulos que se seguem versam sobre um movimento ou posição determinada, a saber, \\\"afastamento\\\", \\\"aproximação\\\", \\\"meio\\\", \\\"circularidade\\\", \\\"verticalidade\\\", \\\"seqüência\\\", \\\"interioridade\\\" e \\\"proximidade\\\". Cada tipo é representado Partindo-se do latim, chega-se ao português e ao romeno, que, como sabido, são os extremos da România. Argumenta-se que as preposições conservam muito de seu sentido original, desde que sejam aplicadas essas \\\"orientações semânticas\\\". Observa-se, com isso, que elas não são desprovidas de significado e que sua complexidade semântica não deve ser entendida como um esvaziamento.
The aim of this work is a study of the prepositions of three languages: Latin, Portuguese and Romanian. It is divided into two parts: a theoretical and a demonstrative one. In the first part, after the exposition of the method - comparative and diachronical -and the subject, namely the language and not the norm (according to COSERIU\\\'s definition), a survey about the use of the terms \\\"preposition\\\" and \\\"prefix\\\" is briefly developed from their origin until nowadays. After that, both terms are defined and their use is delimited. The problems concerning false prefixes, accidental prepositions and prepositional locutions are also dealt with. A formal distinction has been made among prepositions, prefixes and adverbs. The semantic plans (spatial, temporal, biossocial and grammatical) are afterwards explained. The spatial plan is the basic one, from which ali other ideas are derivated. · Some raciocination steps are at last listed and explained (\\\"semantic orientations\\\"). In the second part, some examples are exhibited, from which the theory of the first part was inferred and the eight following chapters deal about a determined movement or position: \\\"severance\\\", \\\"approximation\\\", \\\"means\\\", \\\"circularity\\\", \\\"verticality\\\", \\\"succession\\\", \\\"interiority\\\" and \\\"proximity\\\". Each is represented by some prepositions/ prefixes. Starting from the Latin, one arrives at both already mentioned romanic languages that, as everyone knows, are spoken in the most extreme parts of the Roman Empire. The author argues that the prepositions preserve a great portion of their original sense, if those semantic orientations are applied on them. So, one observes that they are not meaningless and their semantic intricacy should not be understood as an emptying.

O romanche é um conjunto de línguas faladas na Suíça que faz parte do grupo reto-românico, ao qual, também pertencem dois outros conjuntos de línguas faladas na Itália, a saber, o ladino dolomítico e do friulano. Esta tese apresenta uma visão panorâmica e diacrônica do reto-românico em sua unidade, bem como o detalhamento da sua diversidade nas cinco línguas romanches (sobresselvano, subselvano, sobremirano, valáder e puter) e em suas variantes extintas documentadas, com vistas ao estudo da construção verbo+advérbio de lugar. Será usado como corpus todas as ocorrências dessa construção coletadas nos quinze volumes da Crestomatia Reto-românica (Rhätoromanische Chrestomatie), compilada por Decurtins (1983-1985). Diante da diversidade gráfica, referir-se-á a cada construção específica pelo uso da variante suprarregional intitulada romanche grisão (rumantsch grischun).
Romansh is a set of languages spoken in Switzerland that is part of the Rhaeto-Romance group, to which two other sets of languages spoken in Italy, namely the Dolomite Ladin and the Friulian, also belong. This work presents a panoramic and diachronic view of the Romansh in its unity, as well as the detailing of its diversity in its five Romansh languages (Surselvan, Sutsilvan, Surmiran, Valader and Puter) and its documented extinct variants, and aims to study its verb + adverb of place phrases. It will be used as corpus all the occurrences of this construction collected in the fifteen volumes of the Rhätoromanische Chrestomatie, compiled by Decurtins (1983-1985). In view of the writing diversity, reference will be made to each specific construction by the use of the supraregional variant called Rumantsch Grischun.

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The text, to be held in different linguistic spheres, in many aspects absorbs the changing processes through which language passes as a result of socio-historical changes. In this sense, this research proposes a study on gender sorted, motivated by the desire of understanding how the text incorporates traces of change and how to keep its constituents over time, in order to point out what are its characteristic traits. Our analysis is centered on the newspaper s section called classificados of Tribuna do Norte, state of Rio Grande do Norte, between the XX and XXI centuries. From the survey data a descriptive and analytical analysis was performed with a corpus of 250 listings, divided between the years 1951-2010. Based on a diachronic analysis, we also seek to investigate the macro-structural aspects of gender and microstructural compositional elements from the opportunities section that originated the Caderno de Classificados . For this reason, this approach has focused on particular Roman German Philology, especially in the works of Coseriu (1980) and Kabatek (2006). The analysis revealed that since its inception in Brazil, the classificados have fixed constituent elements, such as the use of "sell" and "rent" in the title or introduction, but also shows traces of change in the closure of the text, and especially with regard to the division of classificados by area of interest, that in the newspaper called Tribuna do Norte started in the Opportunities section
O texto, ao se realizar em diferentes esferas lingu?sticas, em muitos aspectos absorve os processos mut?veis pelos quais a l?ngua passa em decorr?ncia das mudan?as s?cio-hist?ricas. Nesse sentido, esta pesquisa prop?e um estudo sobre o g?nero classificados, motivada pelo desejo de compreender como o texto incorpora os vest?gios de mudan?a e como mant?m os seus elementos constitutivos ao longo do tempo, a fim de apontar quais s?o os seus tra?os caracter?sticos. Nossa an?lise est? centrada nos classificados do Jornal Tribuna do Norte, do estado do Rio Grande do Norte, entre os s?culos XX e XXI. A partir do levantamento dos dados foi realizada uma an?lise descritiva e anal?tica com um corpus constitu?do de 250 an?ncios, divididos entre os anos de 1951 a 2010. Baseando-nos em uma an?lise diacr?nica, tamb?m buscamos investigar os aspectos macroestruturais do g?nero e os elementos microestruturais composicionais da se??o Oportunidades que originou o Caderno dos Classificados. Para isso, esta abordagem centrou-se especialmente na Filologia Rom?nica alem?, principalmente nos trabalhos de Coseriu (1980) e Kabatek (2006). A an?lise revelou que desde o seu surgimento no Brasil, os classificados apresentam elementos constitutivos fixos, como o uso do vende-se e aluga-se no t?tulo ou na introdu??o, mas tamb?m apresenta vest?gios de mudan?a no fechamento do texto, e, especialmente com rela??o ? divis?o dos classificados por ?rea de interesse, que no jornal Tribuna do Norte iniciou na se??o Oportunidades
2020-01-01

Starting from the results provided by Mölk and Wolfzettel's Répertoire métrique, this thesis deals with the problem of the anisosyllabism in medieval Romance versification, focusing in particular on the Old-French lyric poetry. Therefore, the revision of the previous metrical marking constitutes the main aim of the dissertation, in order to provide an updated measure of the probatory weight of the selected corpus. Before this close examination, two sections contribute to the study and to the establishment of a scientific methodology: the first one analyses the prominent moments in the history of Romance philology which influenced both ecdotic theory and philological practice. In the second one we discuss the main problems concerning methodological choices such as the probative function of the manuscript tradition or the question about the demonstrative role of the melodic notation. As a result, the dissertation tries to demonstrate the necessity to decrease the number of suspected anisosyllabic texts in the Old-French poetry.
A partire dalla schedatura operata dal repertorio metrico di Mölk e Wolfzettel, il presente lavoro affronta il problema dell’anisosillabismo nella versificazione romanza medievale, occupandosi primariamente delle oscillazioni del computo sillabico registrate nella lirica oitanica. La revisione della marcatura repertoriale è dunque il principale fine della dissertazione, nel tentativo di fornire un’aggiornata misura del peso scientifico probatorio del corpus preliminarmente selezionato. Propedeuticamente a tale disàmina si avviano comunque due sezioni: la prima analizza, per un capitolo di storia critica della filologia romanza, i principali momenti di riflessione teorica ed ecdotica che abbiano costituito valenza teoretica, nonché influenza, nelle prassi editoriali passate e correnti (con particolare attenzione al riesame delle infrazioni sillabiche nella lirica italiana); nella seconda sono discussi i fondamentali problemi metodologici (relativi alla tradizione manoscritta, al ruolo della melodia, ecc.) alla base delle scelte operative attuate sul corpus oitanico dei circa 50 componimenti. Ad esito finale risulta un netto decremento dei casi sospetti.

Le “laudario” de Iacopone da Todi est un texte fondamental de la littérature italienne du Moyen Âge. En dépit de son importance, il n’a pas encore fait l’objet d’une édition fondée sur critères philologiques objectifs et systématiques. En effet, si l’édition de F. Ageno (1953) dépasse l’incunable de Bonaccorsi de 1490 (jusqu’alors le texte de référence) en recourant aux “laudari” soi-disant “ombriens” (mss. London, British Library, Additional 16567 = L ; Chantilly, Musée Condé, XIV.G.2 = Ch), elle doit encore trop à la “princeps”, à laquelle elle se remet en ce qui concerne plusieurs “loci” et dont elle hérite la forte patine linguistique pérugine. Le manque de justification des choix éditoriaux et l’absence de tout apparat critique constituent d’autres limites évidentes de cette édition. L’idée d’Ageno selon laquelle le soi-disant “archétype ombrien” devait être à l’origine de toute la tradition du “laudario”, a été critiquée par G. Contini, qui identifie dans le “Laudario urbinate” (ms. Roma, Biblioteca Nazionale Centrale, V.E. 849 = Urb) un témoin indépendant de cet “archétype ombrien”; son intuition a ensuite été confirmée par R. Bettarini. L’édition de F. Mancini (1974) essaie d’exploiter les secteurs non-ombriens de la tradition et aboutit à des résultats significatifs, mais présente beaucoup de défauts. D’abord, il lui manque un critère méthodologique précis pour la “constitutio textus” ; ensuite, Mancini ne propose aucune analyse de la métrique de Iacopone; par ailleurs, l’éditeur croit pouvoir restituer la patine linguistique “originale”, mais ses arguments ne sont pas convaincants. La nécessité de fournir un texte critique fondé sur des critères philologiques solides et sur une “recensio” soignée est évidente et a été soulignée plusieurs fois par L. Leonardi, qui a aussi déterminé et affiné une ligne méthodologique et opérative dans cet objectif. La présente thèse fournit l’édition d’une partie du “laudario” (huit pièces) selon ces critères, à partir d’une vingtaine de témoins sélectionnés, transcrits par une équipe sous la direction de Leonardi et représentant les quatre familles de la tradition du “laudario” de Iacopone : ombrienne, toscane-ombrienne, vénitienne et toscane. Le critère d’édition suivi a été de prendre comme point de repère le groupe ombrien, porteur d’un texte cohérent, homogène, dont témoignent des manuscrits anciens et linguistiquement proches de l’original présumé. Ce critère a été pondéré grâce à la comparaison avec les variantes des manuscrits non ombriens. La thèse se compose de deux sections précédées d’un avant-propos et suivies de la bibliographie. Dans la première section, le chapitre I est dédié à l’établissement de l’état de la question et à la définition de la ligne méthodologique suivie. Le chapitre II, d’abord, propose les objectifs de l’édition ; ensuite, présente quelques notes sur le corpus des textes publiés, la table des manuscrits utilisés et un paragraphe dédié au manuscrit de surface (L). Le chapitre III est dédié aux critères éditoriaux et à la question de l’apparat critique. Le premier paragraphe approfondit les critères d’édition ; le second présente, d’abord, une rétrospective sur les apparats critiques établis dans les éditions précédentes de Iacopone ; il justifie, ensuite, la tripartition de l’apparat proposée dans cette édition. Le chapitre IV dresse un bilan des nouvelles découvertes qu’on peut déduire des données mises à disposition par l’édition critique. Sa première partie souligne les données qui permettent de confirmer la structure de la tradition ; sa deuxième partie détaille les améliorations apportées par cette édition au texte de Iacopone. Le chapitre V propose quelques remarques sur la métrique de Iacopone, à partir des données tirées des éditions. La deuxième section de la thèse, enfin, présente les textes critiques avec introduction, notes ecdotiques et commentaires philologiques
Iacopone da Todi’s “laudario” is a fundamental text of Medieval Italian literature. Despite its importance, this text hasn’t been published on the basis of objective and systematic criteria so far. The critical edition by F. Ageno (1953) improved Bonaccorsi’s incunable of 1490 (which had been the reference text until then) by means of the so-called “Umbrian laudari” (mss. London, British Library, Additional 16567 = L; Chantilly, Musée Condé, XIV.G.2 = Ch). However, that edition is still too much in Bonaccorsi’s debt as for various "loci" and the Perugian linguistic surface. The lack of explanation of the editorial criteria and the absence of critical apparatus are other evident limits of that edition. G. Contini criticised Ageno’s idea, according to which the entire tradition of the “laudario” stemmed from the so-called “Umbrian archetype”. Contini discovered, in the “Laudario urbinate” (ms. Roma, Biblioteca Nazionale Centrale, V.E. 849 = Urb), a witness independent of the “Umbrian archetype”; afterwards, R. Bettarini’s researches confirmed Contini’s discovery. F. Mancini’s edition (1974) tried to exploit the non-Umbrian sectors of the tradition; it got significant results, but it has many faults. Firstly, as for the “constitutio textus”, there is no precise methodological criterion. Secondly, Mancini doesn’t propose any analysis of Iacopone’s metric. Furthermore, while he believes it’s possible to reconstruct the “original” linguistic surface, his justifications are not convincing. The necessity of a critical edition based upon strong philological criteria and a careful “recensio” is thus clear. L. Leonardi has emphasised that need several times and he has planned and refined a methodological and operational approach. This thesis provides the critical edition of a portion of the “laudario” (eight texts) according to those criteria. It is based on a selection of witnesses, which were transcribed by a team coordinated by Leonardi. That selection represents the four families of Iacopone’s “laudario”, that is the Umbrian, the Tuscan-umbrian, the Venetian and the Tuscan family. In the critical edition, the Umbrian group is taken as reference point, as it preserves a consistent and homogeneous text. Moreover, the text of the Umbrian family is preserved in ancient manuscrits and it is presumably close to the “original” as for the linguistic surface. Alongside that criterion, special attention has been paied to non-Umbrian readings. The thesis is divided into two main sections, in addition to a foreword and the bibliography. Within the first section, chapter I describes the state-of-the-art and defines the methodological approach. Chapter II, first of all, clarifies the goals of the edition; secondly, it offers some notes upon the corpus of edited texts, the manuscripts chart, and a paragraph devoted to the surface manuscript (L). Chapter III is dedicated to the editorial criteria and the critical apparatus. The first paragraph deepens the editorial criteria. The second one firstly contains a retrospective on critical apparatus in previous editions of Iacopone; secondly, it justifies the tripartite structure of the apparatus in the current edition. Chapter IV takes stock of the new discoveries of this edition. The first part underlines the data which allow us to confirm the four families of Iacopone’s “laudario”. The second part points out the textual improvements made by this edition. Chapter V offers some remarks upon Iacopone’s metric by relying on data provided by the edited texts. The second section of the thesis presents the critical edition of the texts with introduction, critical notes and philological commentaries

The aim of the thesis is to provide a systematic analysis of the metrical features of Chretien de Troyes’ romances (Erec et Enide, Cligès, Chevalier de la Charrete, Chevalier au lion and Conte du Graal). The work is divided into three sections: the first part focuses on the rhymes employed by Chrétien (the most frequent rhymes; their variety and the degree of richness; etymological and phonetic connections between the word-rhymes). The second chapter analyses the rhythmic structure of the octosyllable (the distribution and the frequency of stresses; the placement of internal breaks). The third part aims to investigate the relationship between metrical structure and syntactical construction: the coincidence or the lack of coincidence between sentence and couplet (the so-called ʻbrisure du coupletʼ), the extension of the periods and the employ of enjambments.
Il presente lavoro si configura come uno studio analitico e sistematico delle varie componenti della versificazione dei cinque romanzi di Chrétien de Troyes (Erec et Enide, Cligès, Chevalier de la Charrete, Chevalier au lion e Conte du Graal), con l’obiettivo di riunire, vagliare e ampliare i precedenti sondaggi, cui fa per lo più difetto un’ottica complessiva. La tesi si struttura in tre sezioni: nel primo capitolo vengono illustrati i tratti principali della tecnica rimica di Chrétien (la varietà, la consistenza e la ricchezza delle terminazioni, i rimanti più frequenti, le rime tecniche, le connessioni foniche ed etimologiche i tra le parole-rima). Nel secondo capitolo viene, invece, analizzata la struttura ritmico-prosodica dell’ottosillabo: la distribuzione e la frequenza degli ictus nelle varie posizioni del verso, la collocazione delle pause interne e le combinazioni accentuali utilizzate dal romanziere. Il terzo capito verte, infine, sul rapporto tra la struttura metrica e la struttura sintattica: la coincidenza o l’assenza di coincidenza tra frase e distico (la cosiddetta ʽbrisure du coupletʼ), l’estensione dei periodi e il ricorso all’enjambement.

Seize ans après la dernière publication d'un volume du Tristan en prose (2007), mon travail vient compléter cette édition s'appuyant sur le ms. BnF fr. 757, en rendant accessible la première moitié du roman contenue dans le codex BnF fr. 756. Cette thèse, en plus de mettre à disposition le texte d'un témoin important, met en évidence de nouveaux liens entre certains codices de la tradition manuscrite, apporte des informations supplémentaires sur les témoins utilisés pour la collation et des éclaircissements sur l'histoire du manuscrit fr. 756 (enlumineurs, propriétaires, clients, modalités et temps de fabrication, etc.) et contribue aux travaux linguistiques sur le franco-italien et sur le « français de Naples ». Tout cela a été possible grâce à une approche interdisciplinaire croisant paléographie, codicologie, histoire, philologie, littérature et linguistique. Ainsi la thèse ouvre de nouvelles pistes de recherche sur la tradition manuscrite du Tristan en prose, qui reste un champ d'investigation ouvert, prometteur, qui témoigne d'une réception arthurienne vivante en Italie
Sixteen years after the last publication of a volume of Tristan en prose (2007), my work completes this edition based on the manuscript BnF fr. 757, by making available the first half of the romance prose contained in codex BnF fr. 756. As well as making available the text of an important witness, this thesis highlights new links between certain codices of the manuscript tradition, provides additional information on the witnesses used for the collation and sheds light on the history of the manuscript fr. 756 (illuminators, owners, clients, methods and time of production, etc.) and contributes to linguistic work on franco-ltalian and "Naples French". Ali this has been made possible by an interdisciplinary approach combining palaeography, codicology, history, philology, literature and linguistics. ln this way, the thesis opens up new research perspectives about the manuscript tradition of Tristan in prose, which remains an open and promising field of investigation that shows a lively reception of Arthurian literature in ltaly

Cette thèse traite de la question de la traduction arabe du Roman d’Alexandre du Pseudo-Callisthène. Le passage du grec à l’arabe est décrit à travers l’examen philologique des différentes recensions grecques (α, β (L, λ), ε, γ) ainsi que de nombreuses sources arabes. Le Roman d’Alexandre présente un cas spécifique dans le domaine des Graeco-Arabica. A côté de la transmission écrite, que ce soit sous forme d’une traduction ou d’une réélaboration thématique, un rôle particulier doit être accordé à la transmission orale basée sur la Sourate de la Caverne du Coran. Non seulement une recension grecque du Roman d’Alexandre s’est manifestée dans les sources arabes, mais plusieurs (α, β, ε, γ), parmi lesquelles la recension β occupe une place importante dans l’Orient. Le but consiste à présenter un aperçu des chapitres du Roman qui ont fait l’objet d’une réception orientale afin de fournir une contribution à la survie de l’antiquité grecque dans l’Islam
This thesis deals with the issue of the Arabic translation of the Greek Alexander Romance by Pseudo-Callisthenes. By a philological study of the various Greek recensions (α, β (L, λ), ε, γ) as well as numerous Arabic sources it will be shown how the Alexander Romance, as a special example of the Graeco-Arabic translation movement, was rendered into Arabic. Apart from the written tradition, either in the form of a translation from the Greek or a paraphrase, the oral tradition based on Surah 18 of the Quran plays a central role. The influence of not just one but several recensions (α, β, ε, γ) of the Greek Alexander Romance can be traced in various Arabic sources. Especially the Byzantine β-recension must have played an important part in the East. The aim of the dissertation is to give a detailed overview of those chapters of the Alexander Romance which have been received in the Orient in order to illustrate how ancient Greek literature made its way into the Islamic world

Se rattachant à la geste du roi, la Chanson d'Otinel n'avait pas été rééditée depuis le travail pionnier de F. Guessard et H. Michelant en 1858. Partant des objets tangibles que sont les manuscrits pour aller vers l'étude de la tradition et de l'œuvre, ce travail se propose de réexaminer l'ensemble des données disponibles, en vue de permettre la restauration d'une œuvre qui a connu une diffusion importante dans l'Europe médiévale, mais que nous ne conservons qu'en l'état de vestiges épars. La thèse prend un parti résolument méthodologique, en cherchant à faire bénéficier l'édition des progrès épistémologiques engendrés tant par les contributions les plus récentes aux débats propres à l'ecdotique et à la critique textuelle que par ce qu'il est convenu d'appeler les « humanités numériques ». L'édition tente ainsi de dépasser l'opposition entre philologie « nouvelle » et traditionnelle, de la méthode des fautes communes ou d'inspiration bédiériste, pour se placer dans la perspective d'une « quatrième voie » et d'une édition « tournée vers la tradition ». Les techniques de l'édition électronique et de la philologie numérique sont sollicitées afin de fournir une édition complète du corpus manuscrit, qui, par des transcriptions « à couches », donne accès à différentes représentations et au système graphique des différents témoins. L'édition vise également à la description et l'analyse des liens que ces témoins entretiennent entre eux, en mettant en place une méthode de représentation de la variance textuelle et en cherchant à appuyer l'analyse généalogique sur une prise en compte globale de la tradition, incluant les traductions médiévales (galloises, norroises, anglaises) et les versions dérivées. Le travail de modélisation et de description des manuscrits et de leurs textes, formalisé par un modèle XML/TEI conçu pour les besoins de cette édition mais se voulant de portée plus générale, est très nettement tourné vers l'exploitation des données, dans une perspective d'analyse quantitative doublée d'une approche plus traditionnelle (paléographie, scriptométrie, stemmatologie). Des méthodes relevant de la modélisation mathématique, de la statistique, de l'algorithmique et de l'intelligence artificielle sont mises en œuvre, ainsi que des traitements visant à permettre l'interopérabilité, la montée en masse et la systématisation du travail éditorial (reconnaissance optique de caractères, annotation linguistique, collation), au sein d'une chaîne éditoriale faisant la part belle à l'analyse. Les développements effectués sont principalement en XML (TEI, XSLT), R et Python
Part of the geste du roi, the Chanson d'Otinel had not been the subject of an edition since the pioneer work of F. Guessard and H. Michelant in 1858. Starting with the tangible objects that manuscripts are, and proceeding to the study of the tradition and work itself, this study aims to provide a new examination of all the available data, in order to enable a restoration of a song that has know an important diffusion in Medieval Europe, but whose scattered remains only are available to us. This study is given a firmly methodological orientation, and searches to apply to the edition the epistemological progresses brought by recent contributions in the field of textual criticism and ecdotics, as well as by what is now called “Digital Humanities”. It aims at overcoming the debate between “New” and Traditional Philology, based on the common errors method or of Bedierist inspiration, to place itself in the perspective of a “Fourth Way” and of an edition “oriented towards the tradition”. Digital scholarly editing and Digital Philology techniques are used in order to provide a full edition of the manuscript corpus, with “layered” transcriptions that give access to different representations and to the graphic system of all witnesses. The edition aims also at the study and description of the links between these witnesses, by suggesting a method of representation of textual variance and by rooting genealogical analysis in a global consideration of the tradition, including medieval translations (in Welsh, Norse, English) and derived versions. The modelling and description of manuscripts and their texts – formalised by an XML/TEI model conceived for this edition but seeking to be of more general interest – is clearly oriented towards data mining, and computational as well as traditional analysis (Palaeography, Scriptometry, Stemmatology). Methods from the fields of mathematical modelling, statistics, algorithmic, and artificial intelligence are put to use, as well as processes seeking to allow interoperability, scalability, and systematisation of editorial work (optical character recognition, linguistic tagging, collation), in a workflow centred on analysis. Main used languages are XML (TEI, XSLT), R and Python

À côté des Cantigas de Santa Maria d’Alphonse X, les Miracles de Nostre Dame de Gautier de Coinci sont l’un des chefs-d’œuvre du genre des miracles de la Vierge dans les littératures romanes du Moyen Âge. Écrits entre 1215 et 1230 par un moine de Saint-Médard de Soissons, Gautier de Coinci, les Miracles forment un recueil en deux livres organisé de manière symétrique, qui présente également des chansons, des prières et deux traités en vers. L’introduction est principalement consacrée à établir un nouveau profil biographique de l’auteur et à étudier les liens entre les Miracles et les Cantigas d’Alphonse X. Près d’un siècle après le livre dédié à la tradition manuscrite des Miracles par A. Ducrot-Granderye en 1932, cette thèse propose une nouvelle analyse des principaux manuscrits de l’œuvre. Le chapitre 2 présente ainsi un catalogue des 40 manuscrits de la tradition organique du recueil, comprenant une description analytique de leur contenu textuel, ainsi qu’une réévaluation de leur datation, de leur localisation et de leurs possesseurs anciens. Des nouveautés sont présentées dans la thèse, notamment l’hypothèse selon laquelle le manuscrit L des Miracles (Paris, BnF, fr. 22928) aurait été réalisé pour Blanche de France ou Jeanne de Dammartin ; la localisation du ms. D (Paris, Ars. 3517-18) dans la région de Cambrai ; et de nouvelles preuves inédites confirmant la localisation des manuscrits N (Paris, BnF, fr. 25532) et x (Paris, BnF, fr. 15110), respectivement à l’abbaye de Saint-Médard de Soissons et dans la région de Dijon. Le catalogue des manuscrits est complété par des tableaux (Appendice I) regroupant plusieurs informations (rubriques, gloses latines, illustrations) pour chaque texte du recueil. Cette section dédiée aux manuscrits des Miracles sert de base pour le chapitre 3 consacré à la tradition du recueil. Les principaux apports de ce chapitre concernent le cadre rédactionnel de l’œuvre (avec l’identification d’une phase rédactionnelle inédite attestée par les manuscrits D et I) et la mise au jour des dates de composition des différentes parties. Le chapitre propose également un examen critique des rapports entre les manuscrits du point de vue philologique, évaluant à la fois les données fournies par la bibliographie antérieure et celles découlant de l’examen des manuscrits ainsi que du travail sur l’édition critique des miracles de Laon. La seconde partie de la thèse présente d’ailleurs l’édition critique des miracles de Laon (II Mir 14-17 et II Mir 26), préparée sur tous les manuscrits disponibles. Elle est introduite par un chapitre qui vise à étudier toutes les versions latines et romanes des miracles de Laon et est accompagnée par une discussion sur les rapports entre les manuscrits et par des notes philologiques. Enfin, l’Appendice II présente l’édition de deux textes inédits découverts lors de la préparation du catalogue des manuscrits : une version précédemment inconnue d’un miracle de la Vierge en vers, et deux textes en prose (une version de la Vie des Pères et un miracle de Saint Basile)
Gautier de Coinci’s Miracles de Nostre Dame are one of the masterpieces of the genre of the miracles of the Virgin in medieval literature. Written between 1215 and 1230 by Gautier de Coinci, a monk from Saint-Médard in Soissons, the Miracles form a symmetrically-organised two-book collection which also includes songs, prayers and two treatises in verse. This thesis opens with an introduction primarily focused at creating a fresh biographical portrait of the author and exploring the connections between the Miracles and the Cantigas of Alfonso X. Nearly a century after A. Ducrot-Granderye’s 1932 book centred on the manuscripts of the Miracles, this dissertation provides a catalogue of the 40 complete manuscripts of the Miracles, including an analytical description of their textual content and a re-assessment of their dating, location, and early owners. The manuscript catalogue is supplemented by tables (Appendix I) containing information (headings, Latin glosses, illustrations) for each text in the collection. This section devoted to the Miracles manuscripts serves as a basis for chapter 3, which revolves around the tradition of the collection. The main contributions of this chapter concern the multiple redactions of the Miracles (with the identification of a new redactional phase attested by manuscripts D and I). The second part of the thesis presents the critical edition of the miracles of Laon (II Mir 14-17 and II Mir 26). It is introduced by a chapter aimed at study all the Latin and Romance versions of the miracles of Laon and is accompanied by a discussion of the relationships between the manuscripts and philological notes. Finally, Appendix II presents the edition of two previously unpublished texts discovered during the preparation of the manuscript catalogue

The doctoral thesis compares the style of the “Romance of Horn”, “King Horn”, and “Horn Childe and Maiden Rimnild”. Each of them is a different version of the same story; the first is an Insular French romance, the second and third are Middle English romances. The stylistic analysis is both quantitative and qualitative, and it is developed employing the lemmatized edition of each witness of each version. The work begins with an introduction to the concept of style. The first chapter focuses on a review of the literature regarding each version, considering specifically the witnesses and textual criticism, metre and genre, language, date, and style. For the Insular French version, a specific review of the literature about the author is offered. The second chapter introduces stylometry and stylistic analysis with a brief literature review. Then, the protocols for the edition and lemmatization of each witness are described. Finally, the methods adopted for the stylistic analysis are explained. The third chapter develops the study of descriptions, anaphors, and formulas in each version. The collected data and their interpretations are considered altogether through the lens of a group of theoretical concepts: connotation, attribution, horizon of expectations and discursive tradition. Via these concepts, a trajectory of stylistic mutations is traced, and a link between style and socio-cultural context is displayed. The conclusions sum up all the information and inferences, suggesting further possibilities for new research.
La tesi sviluppa lo studio comparativo dello stile come osservato nel “Roman de Horn”, in “King Horn” e in “Horn Childe and Maiden Rimnild”, tre versioni della medesima vicenda, la prima in anglonormanno, le altre due in inglese medio. Nella tesi l’indagine stilistica è svolta in maniera qualitativa e quantitativa, lavorando sulle edizioni lemmatizzate secondo codifica TEI dei singoli testimoni di ciascuna versione. Dopo un’introduzione sul concetto di stile, il primo capitolo è dedicato a un’introduzione ai testi e ai testimoni delle tre versioni. Dopo un cappello introduttivo sui rapporti genetici tra le versioni, di ciascuna di esse si opera un'escussione della bibliografia esistente intorno a testimoni ed eventuale stemmatica, metro e genere, lingua, datazione, stile dell’opera; per la versione anglonormanna si aggiunge uno specifico approfondimento sull’autore. Nel secondo capitolo, si inquadrano stilistica e stilometria nel panorama accademico attuale, quindi si espongono i protocolli di edizione e lemmatizzazione adottata, infine i metodi di analisi adottati e le ragioni per cui circoscrivere l’indagine ai fenomeni di descrizione, anafora e formula. Nel terzo capitolo si procede ad analizzare in ogni versione le descrizioni e poi anafore e formule. Per le descrizioni, dopo aver offerto un quadro specifico per versione, si opera una sintesi sulla base dei concetti di connotazione e attribuzione, chiarendo una possibile traiettoria del mutamento stilistico. Parallelamente, dopo un’analisi di anafore e formule in ciascuna versione si offre una visione d’insieme alla luce dei concetti di orizzonte d’attesa e tradizione discorsiva, ponendo così in relazione stile e contesto socioculturale dell’Inghilterra medievale. Nelle conclusioni, si riassumono gli approdi dell’analisi, valutando metodi e risultati e proponendo possibili aperture a lavori futuri.