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Journal articles on the topic 'Classical french language'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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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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3

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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4

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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5

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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6

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 and goodwill towards the audience. Since the rhetorical devices he uses for this purpose are often absent from the interpretation in the extracts analysed, the strategic persuasiveness of his speech is weakened. This means that the defendant is likely to gain an incomplete, misleading perception of his own case. In the light of the examples presented here, the authors argue that the theory of classical rhetoric affords a useful framework for exploring interpreter-mediated legal monologues in a dialogical perspective.

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7

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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8

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 virtually everywhere and used (especially at the written level) in varying degrees. In some domains, such as education or the physical environment, Classical Arabic dominates; in other domains such as the economy, Classical Arabic is used in parallel with French. This linguistic reality is primarily the outcome of many years of intensive campaigns of Arabisation and major political and even financial decisions, beginning right after independence, aimed at promoting the status of Classical Arabic and giving to Algeria its Arabo-Muslim identity. The present paper examines the process and outcomes of Arabisation and its effects on language use, providing a brief historical sketch of the Arabisation process in various domains, including its application in public life, notably in administration, the physical environment and education. The Arabisation process has touched practically all spheres of public life previously characterized by the sole use of the French language. Also discussed is the impact of Arabisation on language use at the institutional and individual levels. The impact of Arabisation has been significant in some domains, namely education and the physical environment, but less evident in others, such as in university studies, especially in scientific and medical departments, where French remains the main medium of instruction and communication. The paper also encompasses a brief survey of the linguistic rights of Berbers under the Arabisation process, and at the same time it also attempts to address the issue of the Arabisation process in relation to other concepts, notably Islam and Islamism; ‘Arabisation’ does not mean ‘Islamisation.’ Finally, the results of the Arabisation campaigns are analyzed and critiqued. Arabisation has faced many criticisms, among them paucity of human and financial means, as well as the lack of a coherent strategy of implementation in which the political and sociolinguistic realities of the Algerian speech community are taken into consideration.

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9

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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10

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 parametric change affected the strength of NEGP, from strong to weak. As a result of this parametric change, movement of the infinitival verb to AGRℴ becomes more limited. Moreover, the difference between pas and other negative adverbs is due to a change in the nature of pas, from an adverb base-generated in VP initial position which can move, to a fixed adverb base-generated in the specifier position of NEGP.

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11

Parish, R. "Review: French 'Classical' Theatre Today: Teaching, Research, Performance." French Studies 57, no. 3 (2003): 378–79. http://dx.doi.org/10.1093/fs/57.3.378.

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12

Bassano, Dominique, Katharina Korecky-Kröll, Isabelle Maillochon, and Wolfgang U. Dressler. "L’acquisition des déterminants nominaux en français et en allemand." Language, Interaction and Acquisition 2, no. 1 (2011): 37–60. http://dx.doi.org/10.1075/lia.2.1.02bas.

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In many languages, noun determiner acquisition is a central aspect of the emergence of grammar in children. The study compares the development of determiners — between one and three years of age — in the spontaneous productions of two children who acquire French and Austrian German, respectively. Starting with the contrast between Romance and Germanic languages and focusing on morphosyntactic factors, it evaluates the impact of typological and language-specific differences on determiner acquisition. We examine the prediction that determiners should emerge earlier in French than in German and classical hypotheses concerning the pre-eminence of definite over indefinite, masculine over feminine, and singular over plural in the light of developmental data.

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13

Connon, Derek F., and William D. Howarth. "French Theatre in the Neo-Classical Era, 1550-1789." Modern Language Review 94, no. 2 (1999): 537. http://dx.doi.org/10.2307/3737167.

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14

Howells, Robin, and Peter France. "Politeness and Its Discontents: Problems in French Classical Culture." Modern Language Review 88, no. 2 (1993): 458. http://dx.doi.org/10.2307/3733816.

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15

Dular, Anja. "Classical Authors on the Bookshelves of Carniolan Nobility." Keria: Studia Latina et Graeca 20, no. 1 (2018): 131–44. http://dx.doi.org/10.4312/keria.20.1.131-144.

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Works by classical authors had a significant share in the aristocratic libraries of the Slovenian lands. While the selection of authors varied, there were some mainstays: Cicero, Horace, Ovid, Homer. The language of the books was either original or a German or French translation. All publications were furnished with commentaries and introductory chapters containing the authors’ biographies, often even with glossaries and grammar exercises. These additions, however, were considerably reduced in the 19th century. All library owners preserved classical language textbooks as well.

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16

Pack, R. "Symbolism in French literature." Literator 11, no. 1 (1990): 67–76. http://dx.doi.org/10.4102/lit.v11i1.794.

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To talk of Symbolism in French literature may be ambiguous, as two different categories of writers have been grouped under this generic term: the symbolists stricto sensu, such as Moréas or Viélé-Griffin, who were mostly minor poets, and some great figures of French literature. The aim of this article is to show that, although Symbolism as an organized movement did not produce any important contribution, the nineteenth century witnessed indeed the emergence of a new trend, common to several poets who were inclined to do away with the heritage of the classical school. These poets - of whom Baudelaire, Verlaine, Rimbaud and Mallarmé are the most renowned, although they did not really associate with the symbolist school, created individualistic poetry of the foremost rank.

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17

Liu, Chao Peng. "Research on Web Application Technology for Building a Chinese-French Parallel Corpus of the Four Great Chinese Classical Novels." Applied Mechanics and Materials 473 (December 2013): 206–10. http://dx.doi.org/10.4028/www.scientific.net/amm.473.206.

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As masterpieces in Chinese classical literature, the Four Great Chinese Classical Novels with their multilingual translations have exerted a profound influence in literature and translation studies both home and abroad. Building a Chinese-French bilingual parallel corpus of the Four Great Chinese Classical Novels is believed to facilitate large-scale investigations into the original Chinese text and their French translations in terms of stylistics, diction, culture and translation techniques. In this paper, we introduced the French translations of the four novels and illustrated the process of building the parallel corpus in detail. When the parallel corpus is completed, statistical analysis can thereby be carried out by employing different corpus tools. In order to enhance the availability and convenience of the parallel corpus, a web-based query platform is designed to provide world-wide search through the Internet for interested researchers and language learners.

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18

Clegg, Cyndia Susan. "Pacific Ancient and Modern Language Association." PMLA/Publications of the Modern Language Association of America 114, no. 4 (1999): 911. http://dx.doi.org/10.1632/s0030812900154057.

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The association's ninety-seventh convention will he held 5–7 November 1999 at Portland State University in Portland, Oregon, under the sponsorship of the dean of Letters and Sciences and the Departments of English and Languages and Literatures. Inger Olsen is serving as local chair. The program will represent the association members' diverse interests in all matters of language and literature in classical, Western, and non-Western languages. The thirty-one general sessions will include papers on classical, Romance, Germanic, Scandinavian, English, American, and Asian literatures, as well as on linguistics, rhetoric, gay and lesbian literature, film, matrilineal culture, autobiography, poetry and poetics, and critical theory. Among the thirty special sessions are sessions on picaresque literature, Shakespeare and popular literature, Native American literature, Russian literature, Slavic literature, Toni Morrison in the 1990s, Caribbean literature, and cybertextbooks in foreign language education. Several special sessions have been organized by Portland State University and PAMLA affiliate organizations Women in French, MELUS, and the Milton Society of America. Registration at the conference will be $35 and $25. All paper sessions are scheduled for classrooms at Portland State University and will begin Friday at 1:00 p.m. and end Sunday at 1:00 p.m.

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19

Culpeper, Jonathan, and Phoebe Clapham. "The Borrowing of Classical and Romance Words into English." International Journal of Corpus Linguistics 1, no. 2 (1996): 199–218. http://dx.doi.org/10.1075/ijcl.1.2.03cul.

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This paper describes a study designed to investigate the effect of Classical and Romance vocabulary on the English lexicon. The study involved a series of computer searches, using the CD-ROM version of the Oxford English Dictionary (1989). Our aim was to discover how many and at what point in time words were borrowed into English from Greek, Latin, French, Italian, Spanish, and Portuguese. The paper describes the general obstacles and limitations — both with the Oxford English Dictionary and the computer searches — that circumscribe our results. We then present our findings, relating them to extant research.

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20

Brown-Grant, Rosalind, and Renate Blumenfeld-Kosinski. "Reading Myth: Classical Mythology and Its Interpretation in Medieval French Literature." Modern Language Review 95, no. 4 (2000): 1082. http://dx.doi.org/10.2307/3736650.

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21

Daston, Lorraine. "Politeness and Its Discontents: Problems in French Classical Culture. Peter France." Modern Philology 92, no. 1 (1994): 108–10. http://dx.doi.org/10.1086/392222.

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22

Zenkovich, Alla. "Particularities of the Spanish Language in Uruguay." Cuadernos Iberoamericanos, no. 4 (December 28, 2018): 49–56. http://dx.doi.org/10.46272/2409-3416-2018-4-49-56.

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The purpose of this article is to analyze the particular characteristics of the Spanish language in Uruguay, which is a variety of the Spanish language in Rio de la Plata (Argentina, Chili, Paraguay) and represents a special interest for the linguists, professors of Spanish language and foreign experts who go to work in Uruguay. We analyze the history of this particular language variety beginning from the epoch of the Spanish conquest, the influence of the local American languages (in particular of the Guarani Indians), as well as the Italian language and its dialects due to an important immigration from this country. We also pay attention to the phenomenon of the bilingualism, in other words the influence of the Portuguese language (the well-known “Portunol”) and the influence of the French language after the French immigration of the XIX century that led to gallicisms in Spanish language. All these facts provoked such linguistic characteristics as “an untypical use of some pronouns, a less rhythmical intonation and a very special vocabulary to compare with classical Spanish of Spain. The study is based on our own notes made during two trips to Uruguay, and on the “New Dictionary of Americanisms”, books of the history of Latin America and scientific works of the philologists who dedicated their studies to this subject.

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23

Lyons, John D. "The Barbarous Ancients: French Classical Poetics and the Attack on Ancient Tragedy." MLN 110, no. 5 (1995): 1135–47. http://dx.doi.org/10.1353/mln.1995.0089.

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24

Hagedorn, Hans Christian. "Don Quijote en el jazz francés." Çédille, no. 18 (2020): 515–49. http://dx.doi.org/10.25145/j.cedille.2020.18.21.

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The intense reception that Don Quixote has had in French music is a well-known, well-documented and well-researched phenomenon. However, criticism has focused pri-marily on classical music and opera; few studies have been devoted to pop music, rock or folk, and none has so far dealt with the traces that the Cervantine novel has left in French jazz. In this paper we document, analyse and compare twenty examples of French jazz compositions that are inspired by the masterpiece of Cervantes, taking into account aspects such as its reception in jazz from other countries, or the interesting presence of the myth of Don Quixote in French jazz of the 21st century.

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25

Phillips, H. "Review: Indiscernible Counterparts: The Invention of the Text in French Classical Drama." French Studies 58, no. 3 (2004): 406. http://dx.doi.org/10.1093/fs/58.3.406.

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26

PARISH, R. J. "Review. Politeness and its Discontents: Problems in French Classical Culture. France, Peter." French Studies 47, no. 3 (1993): 323. http://dx.doi.org/10.1093/fs/47.3.323.

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27

Sarr, Ibrahima. "Language and Art in Senegal: The Crossbreeding of Identities in Music." Advances in Social Sciences Research Journal 8, no. 1 (2021): 61–69. http://dx.doi.org/10.14738/assrj.81.9530.

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Senegal is a melting pot of several civilizations mainly originated from the West (Europe) and the East (the Arab world). Assuming that language and culture are intrinsically related, the settlement of those people and their status as dominant minority sparked and strengthened the use of their languages in formal domains. In the long ran, as they became domesticated, thus now considered African languages because they have contributed to mold the cultural identity of younger generation, they involve in all linguistic interaction. Arab, in its classical form, remains a symbol of Islam which earns it a certain degree of sacredness. Nevertheless the contact situation with the other languages forced it to crossbreed in special ways like borrowings and interferences. As for the other foreign languages, namely French, English, Spanish, and German at a least extent, they are made to carry the weight of local cultures.

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28

Braider, Christopher. "Image and Imaginaire in Molière's Sganarelle, ou le cocu imaginaire." PMLA/Publications of the Modern Language Association of America 117, no. 5 (2002): 1142–57. http://dx.doi.org/10.1632/003081202x60242.

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The miniature portrait in Molière's Sganarelle, ou le cocu imaginaire is a memento the romantic heroine preserves in token of her absent love. Fainting under the strain of resisting her tyrannical father's efforts to compel her to marry another man, she loses the miniature, which falls into the hands of Sganarelle's wife. Mme Sganarelle's possession of the portrait provokes jealous suspicions in Sganarelle, and the comic fallout challenges the classical theory of images and the theory of signs to which classical culture assigns images. More specifically, in subjecting the portrait to the thingly logic of comic theater, the miniature's circulation explodes the dualist premises on which French classicism depends. Analysis of the farce's plot mechanics thus occasions critical meditations on classical semiotics (in Pascal's Pensées and Arnauld and Nicole's Logique de Port-Royal), classical aesthetics (in the writings of Piles), royal portraiture, and classical theology.

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29

Boucher, Paul. "Mapping function to form." Ordre des mots et topologie de la phrase française 29, no. 1 (2006): 43–60. http://dx.doi.org/10.1075/li.29.1.05bou.

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The position and meaning of Modern French adjectives is discussed in the generative syntax framework. The classical analysis of Cinque (1995), by N-raising to some functional position, is rejected for a number of reasons, notably its inability to account for changes in position since the Old French period. After a brief discussion of some typological and diachronic facts, two ‘semantic’ analyses are considered, those of Bouchard (1998) and Larson (1998). Based on Larson’s mapping model, the present study proposes an analysis of the position and meaning of adjectives in French in terms of movement of ‘restrictive’ and ‘evaluative’ adjectives to the pre-N position and the presence of logical operators of existence and genericity within DP. This analysis is supported by both semantic and syntactic facts: constraints on the determiner, as well as on modification, stress and coordination, defective semantic features.

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30

Anscombre, Jean-Claude. "Le que médiatif du français contemporain." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 53, no. 2 (2017): 181–216. http://dx.doi.org/10.1075/rro.16022.ans.

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Résumé The French construction heureusement que shows a que that has been recently analyzed as a very specific relative pronoun, an evidential que, which introduces a proposition considered as having been previously uttered. On the other hand, the pronoun qui – apart from its common use as an anaphoric relative – had a specific function until the end of the 17th century: it could be used with no antecedent, and with an indefinite and suppositive value meaning ‘if one’. The first part of this study draws up a full list of both constructions in French. The second part of the study is mainly diachronic, and explores the origins of these two pronouns in classical Latin, as well as their evolution through Romance languages, namely French, Italian and Spanish.

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31

Bullock, Barbara E. "Quantitative verse in a Quantity-Insensitive language: Baïf's vers mesurés." Journal of French Language Studies 7, no. 1 (1997): 23–45. http://dx.doi.org/10.1017/s0959269500003355.

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AbstractMany Renaissance poets attempted to imitate classical verse metrics in their own vernaculars. This article examines the quantitative metrical verse of the French poet Baïf who is often criticized for producing unscannable verse using an incomprehensible phonetic orthography. This paper argues that the poet's rules for encoding length, while hermetic, are surprisingly consistent. It is demonstrated that Bai¨f's metrics derive largely from a system that is accentual with his orthography permitting the poet to encode quantitative distinctions that coincide with the metre. This article argues that Baïf's metrical verse provides us with a rare example of how prosody and rhythm in sixteenth century France might have been perceived.

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32

Li, Xiaofan Amy. "Pascal Quignard as Sinophile: Recreating Chinese Antiquity in Contemporary France." Comparative Literature 72, no. 1 (2020): 32–52. http://dx.doi.org/10.1215/00104124-7909961.

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Abstract This article examines the question of reinventing Chinese antiquity in the works of the contemporary French writer Pascal Quignard. It focuses on three aspects of Quignard’s Chinese-inspired works: his rewriting of ancient Chinese texts, his views on the idea of language via classical Chinese language and thought, and his recreation of Chinese antiquity via a radical contemporization of the past. This examination demonstrates that Quignard poses important questions about cultural reception and appropriation, especially as regards the problematic relation between sinophilia, Orientalism, and the reception of antiquity. Finally, the article proposes a nuanced view of Quignard’s sinophilia that recognizes both its merits and drawbacks. It concludes by arguing that despite the pitfalls of cultural misunderstanding and misrepresentation, Quignard spells out the conceptual death of French Orientalism in his refusal to fetishize Chinese antiquity and attests to a tendency in contemporary French literature and thought to creatively recycle foreign cultures and revise one’s understanding through the other.

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33

Elster, Jon. "Tocqueville in English." European Journal of Sociology 40, no. 1 (1999): 148–55. http://dx.doi.org/10.1017/s000397560000730x.

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Tocqueville's two major works, Democracy in America and The Old regime and the revolution, have fared very differently in English translation. The Lawrence translation of Democracy in America is essentially accurate, except for a handful of mistakes. The classical translation by Gilbert of The Old Regime was excessively free and rhetorical, but did not betray lack of understanding of French language or history. A new translation published by University of Chicago Press suffers from the opposite flaws. While trying to follow the original very closely, the translator got many things wrong because of a demonstrable lack of proficiency in French.

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34

White, Paul. "The Classical Commentary in Renaissance France: Bilingual, Mixed-Language, and Translated Editions." Renaissance and Reformation 41, no. 2 (2018): 7–36. http://dx.doi.org/10.33137/rr.v41i2.29832.

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This article analyzes the dynamic interactions of Latin and the vernacular in commentary editions of the Latin classics printed in France before 1600, addressing questions of readership, intended uses, and actual uses. Beginning with the output of Antoine Vérard, it explores the different possibilities for translating Latin commentaries in the early decades of French printing, and the reconfigurations of layout and commentary discourse between languages. There follows a discussion of bilingual and mixed-language editions intended for use in the Latin grammar class and beyond (Mathurin Cordier, Charles Estienne, Jean Herisson, Guillaume Durand, and Pierre Davantès). Particular attention is given to evidence for the uses of such texts in the form of contemporary readers’ annotations and marks of use. Cet article analyse les interactions dynamiques entre le latin et les langues vernaculaires dans les éditions commentées des classiques latins publiées en France avant 1600. Il aborde les questions de la lecture, des intentions d’utilisation visée et des utilisations effectives. En commençant avec l’oeuvre d’Antoine Vérard, on y explore les différentes possibilités de traduction de commentaires latins dans les premières décennies de l’imprimerie française, ainsi que les transformations de mise en page et de mise en regard des textes des deux langues. On poursuit en examinant les éditions bilingues et polyglottes développées à l’intention de l’enseignement du latin dans les classes de grammaire et au-delà (Mathurin Cordier, Charles Estienne, Jean Herisson, Guillaume Durand and Pierre Davantès). Une attention spéciale est accordée au témoignage que fournissent les annotations de lecteurs contemporains et les marques de leur utilisation des ouvrages.

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35

HAWCROFT, M. "Review. French Theatre in the Neo-classical Era, 1550-1789. Howarth, William D. (ed.)." French Studies 53, no. 2 (1999): 201. http://dx.doi.org/10.1093/fs/53.2.201-a.

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36

Raphael, D. D. "Maurice Cranston (1920–1993)." Utilitas 6, no. 1 (1994): 1–7. http://dx.doi.org/10.1017/s095382080000128x.

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Professor Maurice Cranston, who died suddenly on 5 November 1993, was a man of many talents. Pre-eminent as a biographer of Locke and Rousseau, he was also distinguished for his own contribution to political philosophy and for his capacity to expound the political thought of others in clear, simple language. He did this with great success not only in the lecture room but also in numerous broadcast talks and discussions, notably on the Third Programme (later called Radio 3) of the BBC. In his academic work he was particularly well informed on French political thought, contemporary as much as classical, and he wrote extensively on Sartre and more briefly on Camus and Foucault. He was himself fluent in the French language (though he spoke it with a pronounced English accent) and he translated Rousseau's Social Contract and Discourse on Inequality for the Penguin Classics series. He was proficient in German and Italian too, and he knew enough Danish to translate a book on Wittgenstein written in that language. His love of literature often led him to illustrate philosophical points with apt examples from classical novels. He even wrote a couple of novels (of detection) himself in his youth. It will be plain from this brief catalogue that he was an eminently civilized person. He was, in addition, an exceptionally friendly man and engagingly modest about his own abilities.

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37

Gasmi, Ahmed. "Modifications, expansion et réduction dans la traduction des verbes de parole en français et en arabe." Babel. Revue internationale de la traduction / International Journal of Translation 44, no. 4 (1998): 304–15. http://dx.doi.org/10.1075/babel.44.4.03gas.

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Abstract This paper entitled «Modifications, expansion and reduction in translating speech verbs in French and Arabic» attempts to show the syntactic flexibility of French as opposed to the rigidity of Arabic when translating reported speech. It is based on translations from classical and modern Arabic and from a French novel. The main idea developed here is that one often seems obliged to modify reported speech when translating from Arabic by using the rich combinations of the French syntax and the choices offered by its semantic variation; while translating from French reduces the flexibility and the richness of the language to a unique sentence construction using the verb qâla in initial position. In modem Arabic the use of additional verbs tends to convey the full information that is only partially rendered by qâla. The translator seems to transfer the elements of the situation where the verbal interactions occur so as to compensate for loss and for the syntactic and semantic rigidities that are a legacy of the classical language. Résumé Le présent article intitulé «Modifications, expansion et réduction dans la traduction des verbes de parole en arabe et en français» tente de montrer la flexibilité de la syntaxe du français et la rigidité de l'arabe en prenant comme exemple la traduction du discours rapporté. L'analyse se fonde sur des traductions de l'arabe classique et moderne ainsi que sur des exemples choisis dans un roman français traduit en arabe. L'analyse débouche sur une constatation: le traducteur opérant à partir de l'arabe est souvent contraint de modifier le discours rapporté, exploitant ainsi la richesse des combinaisons syntaxiques françaises et les choix qu'offrent les variations sémantiques. En revanche, le passage du français à l'arabe s'accompagne de la réduction de la flexibilité et de la richesse de la langue à une construction unique utilisant le verbe qâla en position initiale. L'arabe moderne a recours à des participes adverbiaux pour pallier les insuffisances de qâla et assurer le transfert de l'information que ce verbe ne peut rendre que partiellement. L'analyse des modes de transfert des verbes de parole montre que le traducteur a tendance à retenir les constituants de la situation de parole puis à chercher à compenser les pertes. Dans le cas de l'arabe, le recours aux participes adverbiaux a pour fonction de combattre la rigidité syntaxique et sémantique qui sont un héritage de la langue classique.

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HAWCROFT, M. "French Classical Drama and the Tension of Utterance: Racine, Moliere, and Madame de Saint-Balmon." French Studies 51, no. 4 (1997): 395–411. http://dx.doi.org/10.1093/fs/51.4.395.

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Eley, P. "Review. Reading Myth: Classical Mythology and its Interpretations in Medieval French Literature. R Blumenfeld-Kosinski." French Studies 54, no. 1 (2000): 67. http://dx.doi.org/10.1093/fs/54.1.67.

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Richter, Martinus, Per-Henrik Agren, Jean-Luc Besse, et al. "EFAS Score – Multilingual Development and Validation of a Patient-Reported Outcome Measure (PROM) by the Score Committee of the European Foot and Ankle Society (EFAS)." Foot & Ankle Orthopaedics 4, no. 4 (2019): 2473011419S0036. http://dx.doi.org/10.1177/2473011419s00360.

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Category: Basic Sciences/Biologics Introduction/Purpose: A scientifically sound validated foot and ankle specific outcome measure for different European languages is still missing. Indeed, language-specific cross cultural validation in other languages than English is largely absent. Some outcome measures were validated for specific pathologies such as hallux valgus, ankle arthritis or flatfoot. The European Foot and Ankle Society (EFAS) established in 2013 a Score Committee to develop, validate, and publish a new score, the “EFAS Score”, which is not specific for single pathologies for different European languages. The principal aim of this project was to develop and validate the EFAS Score simultaneously for different European languages. Methods: The EFAS Score was developed and validated in three stages: 1) item (question) identification, 2) item reduction and scale exploration, 3) confirmatory analyses and responsiveness. The following score specifications were chosen: scale/subscale (Likert 0-4), questionnaire based, outcome measure, patient related outcome measurement. For stage 3, data were collected pre- operatively and post-operatively at a minimum follow-up of 3 months and mean follow-up of 6 months. Item reduction, scale exploration, confirmatory analyses and responsiveness were executed using analyses from classical test theory and item response theory. Results: Stage 1 resulted in 31 general and 7 sports related questions. In Stage 2, a 6-item general EFAS Score was constructed using English, German, French and Swedish language data. In Stage 3, internal consistency of the scale was confirmed in seven languages: the original four languages, plus Dutch, Italian and Polish (Cronbach’s Alpha >0.86 in all language versions). Responsiveness was good, with moderate to large effect sizes in all languages, and significant positive association between the EFAS Score and patient-reported improvement. No sound EFAS Sports Score could be constructed. Conclusion: The multi-language EFAS Score has been successfully validated for orthopaedic foot and ankle surgery populations incorporating a wide variety of foot and ankle pathologies, including language-specific validation in seven languages so far (English, German, French, Swedish, Dutch, Italian, Polish). Validation for other languages (Danish, Finnish, Norwegian, Portuguese, Spanish, Turkish) is in progress. All validated score versions are freely available at www.efas.co .

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Wolfe, Sam. "A comparative perspective on the evolution of Romance clausal structure." Diachronica 33, no. 4 (2016): 461–502. http://dx.doi.org/10.1075/dia.33.4.02wol.

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This article presents a comparative analysis of the diachronic evolution of Romance clausal structure from Classical Latin through to the late medieval period, with particular reference to the Verb Second (V2) property. In the medieval period three distinct diachronic stages can be identified as regards V2: a C-VSO stage attested in Old Sardinian, a ‘relaxed’ V2 stage across Early Medieval Romance and maintained into 13th and 14th century Occitan and Sicilian, and a ‘strict’ V2 stage attested in 13th and 14th century French, Spanish and Venetian. The C-VSO grammar found in Old Sardinian is a retention of the syntactic system attested in late Latin textual records, itself an innovation on an ‘incipient V2’ stage found in Classical Latin, where V-to-C movement and XP-fronting receive a pragmatically or syntactically marked interpretation.

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Jekiel, Mateusz. "Comparing rhythm in speech and music: The case of English and Polish." Yearbook of the Poznan Linguistic Meeting 1, no. 1 (2014): 55–71. http://dx.doi.org/10.1515/yplm-2015-0003.

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Abstract The point of departure for the following study is Patel and Daniele (2003), who suggested that the rhythm of a culture’s language is reflected in its instrumental music. The former study used the normalised pairwise variability index (henceforth nPVI), a measure of temporal patterning in speech, to compare the variability of vocalic duration in recorded speech samples with the variability of note duration in music notation on the example of English and French speech and classical music. The aim of this experiment is to test whether the linguistic rhythm conventionalised in the language of a community affects the rhythm in the musical practice of that community, by focusing on English and Polish speech and classical, as well as folk music. The nPVI values were obtained from a set of English and Polish recorded news-like sentences, and from musical notation of English and Polish classical and folk musical themes. The results suggest that reflections of Polish speech rhythm may be more apparent in folk music than in classical music, though more data are needed to test this idea. This initial study suggests that the method used might bring more fruitful results when comparing speech rhythm with less formalized and more traditional musical themes.

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Elhariry, Yasser. "Abdelwahab Meddeb, Sufi Poets, and the New Francophone Lyric." Publications of the Modern Language Association of America 131, no. 2 (2016): 255–68. http://dx.doi.org/10.1632/pmla.2016.131.2.255.

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This is the first work of criticism to read Abdelwahab Meddeb as a poet. Selfconsciously indeterminate from philosophical and poetic perspectives, Meddeb's poetry is indebted to European, especially French, high poetic modernism; to the French literary turn to the United States; and to the author's desire to be read in the lineage of the major Sufi poets of classical Arabic literature. Turning his back on the hegemony of postcolonial literary prose with the 1987 chapbook Tombeau d'Ibn Arabi, Meddeb generates a new francophone lyric infused with the Sufi traditions of al-Andalus, North Africa, and the Near and Middle Easts. His new lyric rewrites itself as a Sufi consciousness in search of what lies beyond its knowledge of its current state, and his tonguing of the new francophone lyric leads us to a long overdue analytical paradigm.

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Adair, Philippe, and Oksana Nezhyvenko. "Tugan-Baranovsky’s Business Cycle Theory and French Economists: Inspiration and Legacy." Scientific Papers NaUKMA. Economics 6, no. 1 (2021): 3–7. http://dx.doi.org/10.18523/2519-4739.2021.6.1.3-7.

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The purpose of the paper is to emphasize the contribution of Mykhaylo Ivanovych Tugan-Baranovsky to Business Cycle theory and its legacy among French economists.Tugan-Baranovsky (1864–1919), a prominent Ukrainian economist was a cycle theorist who was inspired by some French or francophone economists whose language he mastered. His theory of industrial crises proved influential upon some major economists during the first quarter of the twentieth century until the Great Depression, from Spiethoff to Hayek and Keynes.We present both the history and analytical content of industrial crises in the French version of Tugan-Baranovsky’s masterpiece. We provide an overview of Tugan-Baranovsky’s intellectual legacy as for his French-speaking followers, namely, Lescure, Aftalion, Robertson and Bouniatian. The ebb and tide of Tugan-Baranovsky’s i fluence can be understood throughout two episodes: the shift from real to monetary cycles in the interwar period and the revival of real business cycles alongside New Classical Economics in the 1980s, which proves relevant again in the context of the current Great Lockdown Recession. JEL classіfіcatіon: B14, E32, N13

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MacPhail, Eric. "Jean Bodin and the Praise of Superstition." Rhetorica 36, no. 1 (2018): 24–38. http://dx.doi.org/10.1525/rh.2018.36.1.24.

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This essay situates the political thought of the French Renaissance prose writer Jean Bodin within the dual tradition of political theory and epideictic rhetoric. Bodin's pragmatic reappraisal of superstition, as a bulwark against atheism and anarchy, represents a sort of convergence of paradoxical encomium and political realism in the service of religious pluralism and pacification of civil war. When juxtaposed with his more famous predecessor Niccolò Machiavelli and more renowned contemporary Michel de Montaigne, Bodin's treatment of superstition, both in his vernacular masterpiece Les six livres de la République and in his neo-Latin works, emerges as a timely intervention in confessional strife and a classical adaptation of epideictic wisdom.

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Meli, Cinthia. "Usages modernes de la rhétorique antique: La question des passions dans les arts de prêcher du second XVIIe siècle." Rhetorica 36, no. 1 (2018): 39–57. http://dx.doi.org/10.1525/rh.2018.36.1.39.

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The aim of this article is to examine handbooks of rhetoric produced for the purpose of the teaching and training of French preachers in the second half of the seventeenth century – as of today such handbooks have rarely been studied by the scholars. I will endeavour to assess their role in a history of rhetoric considered less as a theory or a pedagogy than as an art of producing oral speeches. After having explained the circumstances of their production, I will study their attempt to modernize the principles and techniques inherited from classical treatises on a specific topic, namely the usage of passions, when it comes to talking from the pulpit.

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Федоров, В. А., and О. Г. Нехаева. "NATIONAL SPECIFICS OF TRANSLATION OF THE FRENCH CONSTRUCTION IN THE LIGHT OF THE THEORY OF SYNTACTIC CONCEPTS." НАУЧНЫЙ ЖУРНАЛ СОВРЕМЕННЫЕ ЛИНГВИСТИЧЕСКИЕ И МЕТОДИКО-ДИДАКТИЧЕСКИЕ ИССЛЕДОВАНИЯ, no. 2(50) (June 16, 2021): 116–26. http://dx.doi.org/10.36622/vstu.2021.94.33.009.

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Постановка задачи: На основе теории синтаксических концептов в статье анализируются переводы текстов русских классических произведений, выполненных носителями французского языка. В фокусе внимания находятся особенности передачи формального оформления и содержания русских структурных схем на французский язык с помощью конструкции il y a . Результаты. Исследование показывает, что французский язык использует конструкцию il y a , выражающую синтаксический концепт наличия/отсутствия чего-либо/кого-либо, для передачи на французский язык типовой пропозиции нескольких русских синтаксических концептов, в основном, синтаксического концепта бытия . Как следствие, русские бытийные глагольные формы преимущественно переводятся на французский язык французскими глаголами, содержащими сему «иметь», в силу присутствия соответствующего синтаксического концепта, что видно на примере конструкции il y a . Выводы: Проанализированный материал свидетельствует, с одной стороны, о национальной специфике французской конструкции, употребление которой зависит от того синтаксического концепта, который она представляет, с другой стороны, о различии в синтаксических концептах французского и русского языков. Это надо учитывать переводчикам и, соответственно, выбирать из целого набора структур ту, которая наиболее подходит для перевода и которая заполняется соответствующей лексикой в зависимости от типа синтаксического концепта. Statement of the problem. Based on the theory of syntactic concepts, the article analyzes translations of texts of Russian classical works made by native French speakers. The focus is on the features of transferring the formal design and content of Russian structural schemes into French using the il y a construction. Results. The study shows that the French language uses the construction il y a , expressing the syntactic concept of the presence/absence of something/someone , to transfer to the French language a typical proposition of several Russian syntactic concepts, mainly the syntactic concept of being. As a consequence, Russian being verb forms are mainly translated into French by French verbs containing the seme "to have" due to the presence of the corresponding syntactic concept, as can be seen in the example of the construction il y a . Conclusion. Analyzed material shows, on the one hand, the national specificity of French construction, the use of which depends on the syntactic concept that it represents, on the other hand, the difference in the syntactic concepts of French and Russian languages, that should be taken into account by translators, which allows you to choose from a set of structures one which is the most suitable for translation and which is filled with appropriate vocabulary depending on the type of syntactic concept.

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JACQUELIN, ALICE. "Réalismes déclinistes du polar français contemporain : Nicolas Mathieu, Colin Niel, Antonin Varenne." Australian Journal of French Studies 58, no. 2 (2021): 137–50. http://dx.doi.org/10.3828/ajfs.2021.12.

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The detective novel has long been described as a form of “authentic” realistic literature (Collovald et Neveu). However, this article analyzes how three contemporary French crime novels—Aux animaux la guerre by Nicolas Mathieu (2014), Seules les bêtes by Colin Niel (2017) and Battues by Antonin Varenne (2015)—challenge and reappropriate conventions of realism. The three country noir novels follow in the lineage of two important traditions of realism, nineteenth-century French classical realism (Dubois) and the social realism of the 1970s and 1980s “néo-polar” (Desnain). Yet rather than anchoring the novels in familiar territory, the authors blur topographical references, create a polyphonic narrative structure and set a horrific tone to provide symbolic and political commentary. The novels thus borrow from magic realism to depict a declining rural and working-class world.

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Gurmak, Y. M. "Current approaches to the research of anaphorical processes in the French-language discourse." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 36 (2019): 117–28. http://dx.doi.org/10.17721/2663-6530.2019.36.9.

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The article is devoted to the analysis of modern approaches to the study of anaphoric processes based on the material of French-language discourse. Explications of the concept of anaphora by Ukrainian and foreign linguists are interpreted. The newest methodological principles of comprehensive analysis of anaphoric units in French discourse, namely the combination of linguistic and literary methods, have been further developed. It was revealed that the study of anaphoric elements is not limited to the classical problem of repetition, it must be considered in a communicative aspect. In the framework of the cognitive-communicative process, the method of discourse analysis is described. It is proved that in the process of studying the anaphoric nomination of linguistic analysis is not enough, it is necessary to appeal to the discursive context and discursive memory. The cognitive operations that the speaker performs on anaphoric nomens in his own discourse are defined. The pragmatic and functional aspects of the anaphora phenomenon, which are the subject of the study of interactionist linguistics, are considered. The paper states that in the cognitive-pragmatic aspect the anaphoric nomination performs important functions within the framework of the connectivity of the discourse. This phenomenon is broad, which can be presented not only explicitly but also implicitly, that is, the reader himself has to guess what is said in the text, based on his own experience, knowledge and associations. Anaphora can correspond both to the communicative and cognitive requirements, because it not only captures the fragments of the knowledge and experience of the speaker, but also gives him a certain form in accordance with the communicative plan and the pragmatic intentions of the speaker. The article contributes to further systematization of anaphoric means of language, characterized by expressive and informative potential. Consideration of the features of functioning of anaphoric nomens as the structure components of the French-languagediscourse can contribute to the further study of the semantic-stylistic organization of discourse in general.

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Canevascini, Giotto. "On Latin mundus and Sanskrit muṇḍa". Bulletin of the School of Oriental and African Studies 58, № 2 (1995): 340–45. http://dx.doi.org/10.1017/s0041977x00010818.

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Thanks to its variety of meanings, the word mundus had already aroused the interest of classical authors. It is in fact widely attested throughout the history of the language both as an adjective and as a noun.The adjective mundus, -a, -um means primarily ‘propre, d’ où soigné, coquet, élégant’ (DELL, 420), but is it also found used in the rural language when the act of cleaning is involved as is proved by the occurrence in this context of the derived verbs commundō, emundō, and by the expression mundus ager. The definition given to the adjective as mundus quoque appellatur lautus et purus (in Festus, cf. DELL, 420) accounts for this particular meaning because we find expressions describing earth ready for farming as humus subacta et pura ‘earth (which has been) worked and cleaned’. The relevance and wide distribution of this meaning of the adjective in the spoken language is made apparent by the occurrence in the Romance languages of numerous derivatives, such as Italian mondo ‘cleaned, purified’ and mondare ‘to husk, thresh, weed’, or French monder ‘to clean by separating something impure’ and émonder ‘to remove dead branches, to lop a tree’.

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