Relevant bibliographies by topics / Classical french language

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Classical french language'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Classical french language"

1

Sorrell, Martin. "Landmarks of French Classical Drama." Modern Language Review 88, no. 2 (1993): 461. http://dx.doi.org/10.2307/3733820.

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Parish, Richard, Michèle Longino, and Michele Longino. "Orientalism in French Classical Drama." Modern Language Review 99, no. 1 (2004): 193. http://dx.doi.org/10.2307/3738906.

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Maskell, D. "Orientalism in French Classical Drama." Notes and Queries 50, no. 1 (2003): 121–22. http://dx.doi.org/10.1093/nq/50.1.121.

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Maskell, David. "Orientalism in French Classical Drama." Notes and Queries 50, no. 1 (2003): 121–22. http://dx.doi.org/10.1093/nq/500121.

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Phillips, H. "Review: Orientalism in French Classical Drama." French Studies 57, no. 4 (2003): 531–32. http://dx.doi.org/10.1093/fs/57.4.531.

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Gallez, Emmanuelle, and Anne Reynders. "Court interpreting and classical rhetoric." Interpreting. International Journal of Research and Practice in Interpreting 17, no. 1 (2015): 64–90. http://dx.doi.org/10.1075/intp.17.1.04gal.

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This case study is based on a transcript of an authentic criminal proceeding in a Belgian Assize Court, where Dutch is the official language and the French-speaking defendant receives simultaneous whispered interpretation of the prosecutor’s closing speech. Examining six excerpts from the speech, which is addressed to the judges and the lay jury, the analysis compares the Dutch original with the French interpretation. The specific focus of the study is the Aristotelian concept of ethos, i.e. the image the speaker seeks to convey of himself by foregrounding his professional expertise, integrity
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Morgan, Janet. "The Meanings of Vraisemblance in French Classical Theory." Modern Language Review 81, no. 2 (1986): 293. http://dx.doi.org/10.2307/3729696.

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Mostari, Hind Amel. "A sociolinguistic perspective on Arabisation and language use in Algeria." Language Problems and Language Planning 28, no. 1 (2004): 25–43. http://dx.doi.org/10.1075/lplp.28.1.04mos.

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The Algerian National Constitution stipulates that Classical Arabic is the only official language of the nation, which is supposedly used by all members of the speech community. French is regarded as a foreign language and is taught starting from the fourth year of the primary level. The Algerian diglossic situation is characterized by the use of Classical Arabic and French as high varieties used in formal and public domains, and colloquial dialects, namely Algerian Arabic and Berber, as low varieties for informal and intimate situations. In public domains, Classical Arabic is present virtuall
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Scholar, R. "Review: The Classical Sublime: French Neoclassicism and the Language of Literature." French Studies 58, no. 2 (2004): 254–55. http://dx.doi.org/10.1093/fs/58.2.254.

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Martineau, France. "Movement of negative adverbs in French infinitival clauses." Journal of French Language Studies 4, no. 1 (1994): 55–73. http://dx.doi.org/10.1017/s0959269500001976.

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AbstractThis paper examines the position of negative adverbs such as mie, pas, point and jamais in Middle and Classical French infinitival clauses. Instead of linking the movement of the infinitival verb to the strength of functional categories such as AGRℴ, I propose to link it to a parametric change of NEGP from strong to weak. Up to Classical French, the infinitival verb can move to AGRℴ because NEGP is strong; this movement of the infinitival verb to AGRℴ allows the movement of negative adverbs, which are base-generated in VP initial position. At the beginning of Classical French, a parame
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Dissertations / Theses on the topic "Classical french language"

1

Goux, Mathieu. "Le pronom-déterminant "lequel" en français préclassique et classique (1580-1720) : de la langue au discours." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2099.

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Notre thèse étudie les phénomènes de subordination relative au long des 16e et 17e siècles. Il s'agit d'interroger les cadres et les contraintes entourant le pronom lequel au moment où ce dernier subit une diminution fréquentielle marquante de son emploi relatif en discours, après « l'âge d'or » du Moyen français et le raffinement qu'il pouvait représenter. Cette problématique engage la concurrence entre les pronoms relatifs simples (qui, que, quoi, dont et où), et les pronoms relatifs composés (lequel et ses dérivés). Le caractère atypique du pronom-déterminant relatif lequel nous a invité à
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Lafond-Zine, Claire. "La négation simple et la négation composée en français préclassique." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040150/document.

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La question du système des morphèmes de la négation simple ou composée en français suscite depuis toujours l’intérêt de la linguistique mais reste traitée de manière fluctuante par la linguistique diachronique qui l’étudie de façon inégale selon les périodes de l’histoire du français. En effet, concernant la période préclassique (1550-1630), si cette question est régulièrement abordée, aucune étude approfondie et détaillée du système de la négation n’existe à ce jour. Ainsi, ce travail s’inscrit au croisement d’une double visée de la recherche en linguistique : d’une part, celle d’un éclairage
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Smith-Laing, Tim. "Variorum vitae : Theseus and the arts of mythography in Medieval and early modern Europe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0f4305c6-3c62-4f89-a3b2-d8204893fdfb.

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This thesis offers an approach to the history of mythographical discourse through the figure of Theseus and his appearances in texts from England, Italy and France. Analysing a range of poetic, historical, and allegorical works that feature Theseus alongside their classical and contemporary intertexts, it is a study of the conceptions of Greco-Roman mythology prevalent in European literature from 1300-1600. Focusing on mythology’s pervasive presence as a background to medieval and early modern literary and intellectual culture, it draws attention to the fragmentary, fluid and polymorphous natu
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Celestrin, Yannel. "Re-Imagining the Victorian Classics: Postcolonial Feminist Rewritings of Emily Brontë." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3665.

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ABSTRACT OF THE THESIS RE-IMAGINING THE VICTORIAN CLASSICS: POSTCOLONIAL FEMINIST REWRITINGS OF EMILY BRONTË by Yannel M. Celestrin Florida International University, 2018 Miami, Florida Professor Martha Schoolman, Major Professor Through a post-structural lens, I will focus on the Caribbean, specifically Cuba, Guadeloupe, Marie-Galante, and Roseau, and how the history of colonialism impacted these islands. As the primary text of my thesis begins during the Cuban War of Independence of the 1890s, I will use this timeframe as the starting point of my analysis. In my thesis, I will compare Emily
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Dhiabi, Tijani. "Polysémie et polyfonctionnalité du mot "si" : propriétés syntaxiques, sémantiques et pragmatiques en français préclassique." Thesis, Université Côte d'Azur (ComUE), 2019. http://www.theses.fr/2019AZUR2001/document.

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S’inscrivant dans le cadre des recherches portant sur les changements linguistiques, cette thèse a une double visée : d’une part, élaborer une description de tous les emplois du mot si en français préclassique et, d’autre part, signaler les formes en usages à l’époque préclassique qui ont disparu au bénéfice de nouvelles formes devenues en usage en français moderne. La première partie constitue un état des connaissances sur le terme si depuis les remarqueurs de la langue préclassique jusqu’aux recherches contemporaines. Les deuxième et troisième parties sont consacrées à l’étude des emplois ad
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Gatty, Fiona K. A. "Ideal beauty in late eighteenth- and early nineteenth-century French art and art criticism with special reference to the role of drapery and costume." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9c3f5f9e-0a0c-4c1e-a7c1-62ed972cfd12.

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Scholarly attention to late eighteenth- and early nineteenth-century French art has focused on the importance that Johann Joachim Winckelmann attributed to the male nude figure in his definition of ideal beauty, and the impact of his work on debates over the 'beau idéal' in French art and art criticism. In contrast, Winckelmann's extensive interest in the detail of ancient costume, the folds of drapery, and the teleological and aesthetic significance that he ascribed to them, has been underplayed. The role played by costume and drapery as components of the 'beau idéal' in French
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Taylor, Helena. "The lives of Ovid : secrets, exile and galanterie in writing of the ‘Grand Siècle’." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4571c071-a499-44e7-a870-ed747d69bdc5.

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This study examines the constructions and uses of the figure of Ovid in French writing of the second half of the seventeenth century, and explores how they were modulated by contemporary aesthetic and cultural concerns. As the influence of Ovid’s poetry made itself felt in various ways – in the mythopoeia of the Sun-King and the fashionable galant salons – interest in the story of Ovid’s life blossomed. This, I argue, was facilitated by new forms of ‘life-writing’, the nouvelle historique and histoire galante, and fuelled in unexpected ways by the escalating querelle des Anciens et des Moderne
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Averyanov, Oleg. "Les tours pronominaux et non pronominaux français à l’Âge classique (1610-1715) : étude des descriptions et des usages." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL072.pdf.

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Dans l’histoire de la langue française, bon nombre de lexèmes verbaux se sont déclinés en tours pronominaux et non pronominaux (se + V./V.) ayant entretenu des rapports de concurrence contextuelle. La nature de ces rapports n’a pas jusqu’ici fait l’objet d’une étude systématique pour la période du long XVIIe siècle, connue dans l’historiographie comme une période de standardisation du français. Cette époque, incluant les français appelés préclassique et classique, est cependant marquée par l’apparition non seulement de grands dictionnaires et d’une riche gamme de nouvelles grammaires, mais aus
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BENEDETTI, MARTA. "I classici attraverso l'Atlantico: la ricezione dei Padri Fondatori e Thomas Jefferson." Doctoral thesis, Università Cattolica del Sacro Cuore, 2016. http://hdl.handle.net/10280/10784.

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La tesi si occupa di verificare l’influenza che i classici greci e latini hanno esercitato su i padri fondatori americani e più in particolare su Thomas Jefferson. La prima sezione tratteggia il contesto universitario e lo studio delle lingue classiche tra seicento e settecento, comprendendo non solo le università inglesi (Oxford e Cambridge) e scozzesi, ma anche i nuovi college nati nelle colonie americane. Tale analisi dei modelli e delle pratiche educative ha permesso, in effetti, di comprendere meglio l’influenza dei classici sui rivoluzionari americani. Nello specifico viene scandagliata
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Bahsoun, Jihad. "Du sens et de l'utilité des réécritures dans la littérature comparée. Maryse Condé, Assia Djebar, Nédim Gürsel, Abdelwahab Meddeb." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040211.

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Nous avons tenté dans ce travail de mettre en évidence le sens et l’utilité des réécritures dans la littérature comparée. Pourquoi et comment les écrivains s’emparent-ils d’une œuvre ou d’un texte en général (un texte sacré par exemple) et les transforment-ils ? Les écrivains francophones (ou imprégnés de culture française) des XXe et XXIe siècles s’inspirent de certains modèles de réécritures présents dans la littérature classique européenne ; ils apportent cependant une richesse supplémentaire aux hypotextes sur plusieurs plans : culturel, philosophique et esthétique. Un parallèle entre les
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Books on the topic "Classical french language"

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Cronk, Nicholas. The classical sublime: French neoclassicism and the language of literature. Rockwood Press, 2003.

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Douglass, Fenner. The language of the classical French organ: A musical tradition before 1800. Yale University Press, 1995.

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Signs of certainty: The linguistic imperative in French classical literature. ANMA Libri, 1991.

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Staff, Lexus Firm. The Rough Guide to French Dictionary Phrasebook. Rough Guides, 1999.

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Eugène, Catherine. La flèche du Parthe, ou, Comment suivre à la lettre les mots grecs et latins de notre langue. Hatier, 1988.

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Jacques, Pignault, ed. Comprendre la langue des œuvres classiques: De Corneille à Chateaubriand. Hatier, 2000.

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Les mots face à l'histoire. Tallandier, 2010.

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Babrius. Fables ésopiques. Arléa, 2004.

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Jagoda, Luzzatto Maria, and La Penna Antonio 1925-, eds. Babrii Mythiambi Aesopei. Teubner, 1986.

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Savigny, Françoise. Il était une fois: Three classic stories to help children learn French. Passport Books, 1989.

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Book chapters on the topic "Classical french language"

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"CODIFICATION AND STANDARDISATION: CLASSICAL AND NEO-CLASSICAL FRENCH." In A History of the French Language. Routledge, 2003. http://dx.doi.org/10.4324/9780203427330-9.

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"Perceptions of bilingualism in the classical Russian novel." In The French Language in Russia. Amsterdam University Press, 2018. http://dx.doi.org/10.2307/j.ctv7tq4pw.18.

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"Chapter 9: Perceptions of bilingualism in the classical Russian novel." In The French Language in Russia. Amsterdam University Press, 2018. http://dx.doi.org/10.1515/9789048532766-017.

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Elhariry, Yasser. "Heliotropic Exit." In Pacifist Invasions. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940407.003.0007.

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Ryoko Sekiguchi’s Héliotropes is deeply informed by Giorgio Agamben and Daniel Heller-Roazen’s work on the ‘end of the poem’ and on ‘speaking in tongues,’ and so Sekiguchi perfectly unites classical Arabic literature, modernist poetics, and contemporary philosophical and critical inquiry into prosody. As the youngest of the five authors studied in Pacifist Invasions, she draws on recent innovations in critical poetic theory, and the complex linguistic, prosodic and thematic arrangements of the muwashshaḥa and the history of its scholarship. Her poetry provides a spectacular, particularly poignant exemplar for where we may begin with the language question, now that we have ended. Her solution to the inescapable problems facing French poetics represents an extreme departure: to exit altogether the Francophone literary idiom, and back toward its beginning as prise de conscience or ‘awakening,’ mediated by a Franco-Arabic tradition of unprecedented poetic innovation. Her Franco-Arabic composition deforms and unfurls a language undone. As with Saussure and Stétié’s aporetic notion of a ‘pacifist invasion’ of language, with Sekiguchi this linguistic transformation takes less the form of Francophonie’s initial surrealism- tinged linguistic destruction than a rediscovery and resurrection within and through a French language surface of classical Arabic literature and mystical Islam and Sufism. In this light, the poetics of the muwashshaḥa marks an exceptional site of transference between languages in passage, a liminal moment of transit where languages are placed at one another’s thresholds, freely interwoven into one another, becoming other languages, becoming something other than language as such, that is, characterized by a basic correspondence between visual sign and uttered sense.
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Elhariry, Yasser. "Translating Translating Tengour." In Pacifist Invasions. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940407.003.0003.

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Chapter 1 begins with a study of the most evidently literal, translational rewriting of a classical Arabic literary corpus. It analyses in depth Habib Tengour’s chapbook Césure (2006). I read Tengour’s literal translations of images and metaphors culled from the archive of the classical Arabic odes, alongside his American translator Pierre Joris’s rendering of his translations of translations. The juxtaposition of the old Arabic texts, the history of their English translations, and Tengour’s original French language poems, which are then cut through with Joris’s American translational idiom, produces a four- sided linguistic refraction that unravels how Tengour unwrites the Arabic, so as to rewrite it forward into a falsely, seemingly monolingual French. I situate the poetics of translation and intertextuality in relation to Tengour and Joris’s respective, trans-Atlantic editorial and publishing worlds. I pay particular attention to how they capture and maintain the ‘pseudo-opacity’ of an original translingual, translational poetics, which they premise on the multicultural plurilingualism of the Maghreb. In so doing, we revisit translation theory from Joris’s perspective as an active contemporary American translator, theoretician, essayist, poetician and poet, with a particular focus accorded to a consideration of the formative, vagrant structure and thematics of the classical Arabic odes. Together, Tengour and Joris point to a twentieth- and twenty-first-century tradition of trans-Atlantic Franco-American translations, which undercuts the place afforded to the French language. I conclude with the assertion that Tengour and Joris render the French language an effaceable, hopelessly transparent mode of translation between two series of opacities: classical, high literary Arabic on the one hand, American English on the other.
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Christie, Nancy. "“Unfrenchifying” Quebec." In The Formal and Informal Politics of British Rule In Post-Conquest Quebec, 1760-1837. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851813.003.0007.

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In keeping with the overall theme of the contested nature of British rule, this chapter investigates the establishment of the first French-language newspaper, Le Canadien, demonstrating the way in which the French Canadian political opposition appropriated the tenets of classical republicanism to break the natural equation between Britishness and liberty. Because of this move, the English press was compelled to embrace Court Whig political discourse so that political allegiances and ideologies were now synonymous with two ethnic political factions. The discourse of political opposition was not derived from the model of the American Republic, as historians have previously contended, but was adapted from a longstanding mode of political argument within the colony and was driven by an often stridently anti-Catholic and anti-French British nationalism.
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Elhariry, Yasser. "Sky-Birds & Dead Trees On Two Images in Edmond Jabès." In Pacifist Invasions. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940407.003.0004.

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Chapter 2 concerns two recurrent images from Edmond Jabès’s late works, Un étranger avec, sous le bras, un livre de petit format (1989) and Le livre de l’hospitalité (1991). While Jabès is well known within French literary circles, analyses of his early Cairene work— and to an even lesser extent the formative roles of orality and aurality from his pre- Parisian period—are few and thin. I first contextualize the figure of the Egyptian poet in relation to the history of Jabès scholarship, and then build on Tengour’s translational poetics of the classical Arabic literary archive in order to unravel a different, sublimated translational mode that links many of Jabès’s later books. In his late and final works, which he composed while living in Paris, Jabès’s poetic imaginary reprises word for word the tropes of early Arabic verse. When read together and in relation to the same archival corpus, Tengour and Jabès represent contrasting translational and intertextual modes for comparative poetic and translingual compositions in French. Through his aphasic refuge in French monolingualism following his exile from Cairo, and his late re/discovery of classical Arabic poetry in Paris, Jabès’s sublimated recourse to early Arabic verse retraces and performs the history of the old literary forms beneath a French language surface.
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Kornhaber, Donna. "2. A global cinema." In Silent Film: A Very Short Introduction. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780190852528.003.0003.

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Silent film proved to be not just a global entertainment medium but also a deeply transnational one. “A global cinema” looks at its worldwide spread, largely unimpeded by language barriers and even national barriers. International coproductions were common, with actors and directors moving freely between countries. Alongside the rise of the Hollywood classical style, French, German, Italian, and Russian national cinemas emerged. Australia, India, Mexico, China, and Japan forged active film industries despite international pressures, while other regions saw their markets dominated by foreign imports.
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Childs, Wendy R. "From Chronicles to Customs Accounts: The Uses of Latin in the Long 14th Century." In Latin in Medieval Britain. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266083.003.0004.

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The 14th century continued to see a predominantly trilingual society in England, with a number of vernaculars used alongside English, French, and Latin. Latin was the most widely written language and its use in the church, scholarship, and administration provides an immense range of Latin sources for the medievalist, from the highly literary to the practical. This chapter focuses on chronicles and customs accounts for shipping. The chroniclers consciously used classical styles, vocabulary, and quotations, while nonetheless incorporating the changes inevitably occurring in a living language. The customs collectors used plain, often formulaic, Latin and introduced vernaculars, but always within an accurate Latin matrix. Together they illustrate the range of content, style, and vocabulary found in 14th-century Latin sources.
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Koch, John T. "Mapping Celticity, Mapping Celticization." In Communities and Connections. Oxford University Press, 2007. http://dx.doi.org/10.1093/oso/9780199230341.003.0024.

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‘Celticity’ means the quality of being Celtic. ‘Celticization’ means the process or event(s) of becoming Celtic. Thus, Celticity involves a static or synchronic perspective and Celticization a dynamic, diachronic one. ‘Celtic’ is used here in a linguistic sense, because the debates of the past few decades over the term ‘Celtic’ seem to have left intact the concept of the Celtic languages as a proven and closely definable scientific fact, whereas Celtic culture (including Celtic art), Celtic identity, and so on, remain controversial and are prone to ambiguity (see e.g., James 1999; Sims-Williams 1998). Therefore, ‘Celtic’ here means belonging to the Indo-European sub-family of languages represented by the living Irish, Scottish Gaelic, Welsh, and Breton. These four, together with the recently extinct and now revived Manx and Cornish, and the ancient Celtiberian, Gaulish, Galatian, and Lepontic together form a genetic language family. That means, rather than having anything to do with biological genetics per se, that these languages show systematic similarities—more closely with one another than with any other attested language or group of languages—implying that they descend from a single proto-language, usually called ‘Common Celtic’ or ‘Proto-Celtic’, which had been the speech of a people, who had once formed a coherent community, occupying a particular geographic territory, at a particular time. The principle is the same as Latin and the Romance languages (French, Italian, Portuguese, Romanian, and Spanish), but in the case of classical Latin and its daughter languages the ancient proto-language is fully attested and its epicentre can be pinpointed in time and space. It is highly unlikely that Celtic or a language directly ancestral to it was the first language spoken by human beings in any part of Europe. For example, Celtic was not the language of Palaeolithic France nor of Mesolithic Ireland. Proto-Celtic is the descendant of another reconstructable language, Indo- European, which itself dates, according to various experts, somewhere within the Neolithic or Early Bronze Age (Mallory 1989). How does a language appear in a country? We shall consider three general paradigms.
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Conference papers on the topic "Classical french language"

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Sousa, Alberto J. "Towards a Reinterpretation of the So-Called Brazialian Neo-Classical Architecture." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.22.

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Brazilian architectura d historians have identified in Brazilian architecture a style of classicist nature, adopted during the period ranging broadly from 1810, which has been regarded as the Brazilian version of European Neo-classicism – and therefore has been named Neo-classical – and as a language derived mainly from French models. The have said, at the same time, that the French architect Grandjean de Montigny (who lived in Rio de Janeiro from 18 16 until his death in 1850) was the main propagator of that style and also the most prominent of the designers who made use of it. A careful rese
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Stanciu, Florentina. "Training in French communication skills in online learning through the efficient use of video sequences." In Condiții pedagogice de optimizare a învățării în post criză pandemică prin prisma dezvoltării gândirii științifice. "Ion Creanga" State Pedagogical University, 2021. http://dx.doi.org/10.46728/c.18-06-2021.p146-150.

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The last decades, characterized by changes in the transnational relationships, by the growth of the European Union and the increasing need to communicate in the globalized world, lead to a reevaluation of the practices, methodologies and materials used in teaching languages, especially in teaching French as a foreign language. Online learning completes the classical learning suggesting accessible information which can be accessed anytime through electronic platforms. Qualitative online learning involves planning online learning, online teaching and online learning its-self. Using multimedia co
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