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- Bravo Cladera, Nadezhda, 1944-
(author)
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Y, PERO, ASÍ QUE y ES QUE : Un estudio de su uso en las interacciones del español de jóvenes bilingües y unilingües
- 2004
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Doctoral thesis (other academic/artistic)abstract
- The focus of this study is use of discourse markers (DM). Data consists of taped interactions of informants. From this data, four particular DM are analyzed with regard to distribution in turn taking. The concepts of cohesion and coherence in text or discourse, together with informants´ communicative and discourse strategies, in a group of bilingual speakers (BS) and a control group of monolingual speakers (MS), are also analyzed. The findings confirm that BS, compared to the MS, make more frequent use of y with a pragmatic meaning when introducing various types of questions that constitute requests for elucidation directed to an interlocutor and thereby continue the interaction. In general, however, the MS use the DM y more frequently than the BS, demonstrating a more elaborate sense of stylistics in the coordination of their turn as narrations and descriptions. With regard to pero, the BS prefer to use this DM with a pragmatic meaning, in the continuation of an intervention or at the end of a turn, in order to question that which has been stated. The MS use pero primarily with a semantic meaning, to express counter-arguments inside a turn. It is exclusively the BS who use the DM así que with pragmatic meaning of consequence, in interactional exchanges, when they wish to introduce questions and assertions, where así que begins their reaction to the utterance of the interlocutor. Such questions may be regarded as a discourse strategy that permits possibilities for avoiding taking responsibility for how an utterance is interpreted. In addition, both the BS and the MS use así que at the end of turns, providing the discourse with meta-pragmatic meaning whereby it allows possibilities for interpreting this as finalizing. Through their use of es que, the BS gradually explain and justify statements made in utterances during their turns while the MS, through use in their discourse of this DM, allows them to introduce explications, justifications or excuses in the event of possible disagreement. In addition, the MS use justification introduced through this DM as a strategy to take a turn or to attempt to take over the turn, where es que conveys discourse-pragmatic meaning and introduces a tone of verbal courtesy.
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- Broth, Mathias, 1965-
(author)
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Agents secrets : Le public dans la construction interactive de la représentation théâtrale
- 2002
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Doctoral thesis (other academic/artistic)abstract
- The present study focusses on the theatre audience, and on its’ role in the maintenance of the theatrical situation. Using video-recorded performances of relatively naturalistic, modern dramas, the study examines the behaviour of the audience in relation to the unfolding of stage events. Such behaviour is described through close inspection of the sounds the audience produces, consisting primarily of coughing, throat-clearing, and laughter. The study contributes to the growing body of research surrounding ethnomethodological conversation analysis (CA). CA methods are used to analyse not only an audience’s overt reactions to stage events, but also the actions occurring outside these relatively short-lived phenomena in the context of a theatre performance. It is demonstrated that members of the audience refrain from making « vocal noise » during the verbal interaction of actors, and some of the resources used to achieve this end are described. These include the interpretation of the emerging dialogue, of the relative positioning of actors and of the actors’ use of gesture. Members of the audience are observed making vocal noise around possible completions in the sequence of ongoing stage actions, a placing which seems to make it maximally unobtrusive. Furthermore, the audience’s laughter is described. It is argued that members of the audience negociate collective moments of laughter with each other and with the actors. In doing so, the audience displays a sensitive awareness of the other members of the audience and the performers on stage. It is finally suggested that vocal noise on one hand and laughter on the other are differently placed in relation to an emerging action. This relative placing seems to indicate their producers’ different orientations to these actions, according to which vocal noise is to be hidden and laughter to be taken as an overt reaction.
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- Hagström, Anne-Christine, 1953-
(author)
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Un miroir aux alouettes ? : Stratégies pour la traduction des métaphores
- 2002
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Doctoral thesis (other academic/artistic)abstract
- This dissertation has three goals : to establish an inventory of translation strategies applicable to the translation of metaphor, to investigate how the application of these strategies affects the balance in metaphorical quality between source text and target text, and, finally, to determine whether this balance is a useful indicator of the direction of the translation as a whole, towards either adequacy or acceptability.To carry out this research the author has established a corpus comprising 250 metaphors from the novel La goutte d’or by Michel Tournier and its Swedish translation, Gulddroppen by C.G. Bjurström. Based on the criteria thematical and contextual connection 158 metaphors from this corpus have been selected for analysis.The strategy used in the translation of each metaphor has been established. The degree of balance in metaphorical quality between the two texts has then been determined and its significance as an indicator of the direction of the translation as a whole has been discussed.The underlying theory and methodology of the study are those of Gideon Toury as outlined in his book Descriptive Translation Studies and beyond. The study is thus essentially descriptive in nature.The dissertation is divided into two parts. The first part gives a survey of well known research within the fields of metaphor theory and translation theory. Various theories concerning the requested equality between a text and its translation are presented, as well as inventories of translation strategies established by a number of researchers. The second part contains the analysis of the selected metaphors and establishes a set of strategies for this purpose.
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- Iviér, Marica, 1943-
(author)
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De l'errant à l'artiste : le Rayonnement d'Ulysse dans l'oeuvre romanesque de Jean Giono
- 2009
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Book (pop. science, debate, etc.)abstract
- This thesis in a tripartite disposition is intended to analyse and synthesize conscious and unconscious reminiscences of reading Homer in Jean Giono’s works, especially the figure of Odysseus polytropos or polymècanos, and to elucidate how the modern author through his characters regenerates this topos. Despite the fact that these two authors sprang from, in time and space, remotely situated places in the Mediterranean soil, the agrarian and manufacturing societies to which they belonged had many similarities. But, at a distance of thirty centuries, the comparison would seem risky if, in these two cases, the account did not intervene after a major conflict (The Trojan War and The First World War respectively) that changed the course of history. This form of logos meta polémon, exposing real and fictional exploits, imposed itself upon the minds of those who survived the cataclysm. Following Giono in his real and imaginary wanderings, this study is intended to show how the circularity of thought interweaves with the aspiration to discover new horizons. Impetus, or the enthusiasm for treading on new grounds, harmonizes with the myth of circumnavigation, where the author with his characters, being a prey to distrust or in the grip of Gorgon, is in search of his self. Assuming different aspects of Odysseus´s personality, and adopting his attitudes, Giono’s vagabonds attempt to measure the world in order to survive. The study embraces the accommodation between the myth and the truth, the latter considered as the “deeper truth” that mythopoeic fictions often embody. Odysseus’s skill in giving verisimilitude to his falsehood is shown in the wanderers’ constant laborious struggle to obtain pitance, everyday existence. In this art of survival, the cunning (dólos) and the reasoning (logos), led by the mètis (the stratagem of intelligence), influence the action and the structure of the novel. The chapter that treats of poïésis undertakes to intertwine the composition of the images with the musicality of the texts. The personification of the elements, the most important source of Giono’s art, perpetuating their divinisation practised by Homer, conserves the alétheia (the truth/non-forgetfulness) and this, in turn, guarantees the mnesis (the memory). Analysis of the creation of the text, the poïésis, in which the author’s inner voice is revealed, leads to a series of questions regarding the work´s opening with the torch towards the future. The study never loses sight of the fact that the whole of literature reflects a society in which the author is formed, and in which he tries to distinguish himself from others through his work. From there emanate socioeconomic points of view, such as those Gabriel Germain presented regarding the bard´s status: from the first inspiration to the cunning mastery of the language. The study in the confluence of the literary and the socio-historical approaches does not aim to restrain the essentials of imagination in Jean Giono’s works, but to consider their origin as the fundamental experience of those who in literature aspire to attain the universal.
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