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- Neuphilologisches Institut - Moderne Fremdsprachen (91) (remove)
While French Enlightenment seems philosophically dominated by a pejorative idea of the medieval past as the ‘Dark Ages’, this is only one conception among others. This article focuses on a different, a positive, representation of the Middle Ages in eighteenth-century literature, analyzing the chivalric novella Bliombéris (1784) by Jean-Pierre Claris de Florian. On the one hand, the eponymous hero is considered a ‘noble savage’ who develops into an ideal knight by education and successful learning – two central ideas of the Enlightenment period. On the other hand, the study shows how the medieval topic of the Matière de Bretagne, exclusively required by English literature for a long time, is finally regained by the French and is reintegrated into their national memory.
This article exemplifies Gunter Grimm’s concept of productive reception by analyzing César Fernández García’s young adult novel La última bruja de Trasmoz (2009) and the episode Tiempo de hechizos (2017) of the TV series El ministerio del tiempo as two modern works which artistically and creatively deal with Gustavo Adolfo Bécquer’s Cartas desde mi celda (1864). The study is based on the core assumption that the choice of genre greatly influences the treatment of motives such as the perception of nature and the idea of dreams, as well as the image of the witch. While Bécquer’s letters, which focus on the rural people’s superstition, present the witch of Aragonese folklore, the modern examples portray two of her fantastic counterparts: the novel depicts its magical protagonist as an evil supernatural being, whereas the TV episode of the science fiction series shows the witch as a time traveller and a victim.
This article deals with the reception of Dante and Goethe in Ermanno Wolf-Ferrari’s and Hector Berlioz’s compositions La Vita Nuova and La Damnation de Faust. Although Dante Alighieri’s Vita Nova and Johann Wolfgang von Goethe’s Faust belong to completely different genres and epochs, the texts provide the basis for the oratorio-style works from the Romantic era, which justifies a comparative analysis of the latter. The examined reductions, extensions, modifications and rearrangements of the texts in the libretti – which were compiled almost entirely by the composers themselves – as well as the instrumental parts and the use and functions of the orchestra, the choir and the soloists, portray the intermedia relations between literature and music in the selected compositions. The chosen examples will show that the common idea of setting literature to music and the translation studies concept of intersemiotic translation are not appropriate for all literature-based pieces of music, as the analysis of both works demonstrates that with regard to vocal music a distinction should be made between the musicalization of literature and the literarization of music.
This paper analyzes the mental development of the main character Salvador in the Spanish movie Los girasoles ciegos (2008) by José Luis Cuerda, based on the camera perspective and focalization, as well as the three-instance model according to Sigmund Freud. For this purpose, screen captures from the movie are examined to see how Salvador’s loss of control is pictured. This is applied to Freud’s three-instance model to prove the takeover of the Id. Throughout the whole movie, the inner conflict between his Ego and Id, i.e. his life as a deacon versus his life as a soldier, is present. The whole process of the breakdown of his mental state is revealed through the camera perspective and visual focalization.
Präpositionalphrasen mit der Präposition de im Französischen – Struktur und Realisierungsformen
(2015)
This paper investigates the linguistic properties of prepositional phrases containing de in the French language by means of a comprehensive compilation of possible formal realizations, for which examples are provided out of a chosen sample text. Special attention will be paid to the most frequently-cited formal realization, namely the combination of a preposition and a noun phrase. The corresponding forms will be divided into two classes, one with nominal phrases containing a phonetically realized or at least an underlying determiner, and one with nominal phrases in which no determiner is assumed to occur. This distinction will shed light on some of the difficulties that can arise in the assignment of the elements to either category due to the special interaction between the preposition de and the French system of determiners.
This article is an analysis and a comparison of German and French special language of music in the 18th century, more precisely about the terms used to describe the activity of singing. The analysis is based on two treatises about music theory. The first writing, Der Vollkommene Capellmeister, was written by Johann Mattheson in 1739 and the second, Code de musique pratique by Jean-Philippe Rameau was published in 1760. Both texts contain a chapter which gives explanations how to sing. The treatises include different types of technical words: specific terms easy identified as special language terms like names of ornaments in the music, special verbs standing for singing, and words and anaphors to describe tonality and dynamics. By having a look on the terms of music language, the influence of Italian and French words on German vocabulary of music becomes obvious. The vocabulary is often similar in both languages, but not always defined as a part of the special language of music.
The present study is concerned with a critical discourse analysis of the speeches of the Italian politicians Silvio Berlusconi and Matteo Renzi in different situations. The aim of the study was to find out how historical and speech contexts influence discourse structures and argumentations, and if any similar speech patterns or speech strategies were used. The results show that both politicians in many cases tend to utilize similar speech patterns to achieve different aims; each of them shows a preference for particular words, structures and strategies. It is noteworthy that one of the important differences between speeches of Berlusconi and Renzi is the use of various speech strategies. While Renzi uses these strategies to create an image of himself as a young and honest politician, Berlusconi makes use of them to defend himself or attack his opponents.
Much research on first language (L1) acquisition carried out in the last decades has proven that language acquisition is based on a biological endowment, the language faculty, which is triggered by the exposure to linguistic data. The language acquisition process undergoes similar stages in the same time span, independently of the specific language. Non-native acquisition differs from L1 acquisition, as the speaker already has an internal grammar with all parameters set. Transfer should therefore take place, bringing the learner to analyse the new input according to the properties of the L1, but a reanalysis is possible because of the availability of UG (Schwartz/Sprouse 1996). This article explores a syntactic domain, namely the properties of the functional categories constraining the verb position in main and subordinate clauses, by means of empirical data from Italian L1-speakers acquiring German as a second language (L2). It will be shown that the interlanguage grammars reflect properties of L1 and that resetting can be achieved, although optionality still exists and full convergence to the target language cannot be guaranteed.
The fastest growing regional crisis is happening in West Africa today, with over 8 million people considered persons of concern. A culmination of identity politics, climate-driven disasters, and extreme poverty has led to this humanitarian crisis in the region and is exacerbated by a lack of political will and misplaced media attention. The current state of the art does not present sufficient investigations of the thematic and spatial coverage of news media of this crisis in this region. This paper studies the spatial coverage of this crisis as reported in the media, and the themes associated with those locations, based on a curated dataset. For the time frame 12 March to 15 September 2021, 2017 news articles related to the refugee crisis in West Africa were examined and manually coded based on (1) the geographical locations mentioned in each article; (2) the themes found in the articles in reference to a location (e.g., Relocation of people in Abuja). The dataset introduces a thematic dimension, as never achieved before, to the conflict-ridden areas in West Africa. A comparative analysis with UNHCR (United Nations High Commissioner for Refugees) data showed that 96.8% of refugee-related locations in West Africa were not covered by news during the considered time frame. Contrastingly, 80.4% of locations mentioned in the news do not appear in the UNHCR repository. Most news articles published during this time frame reported on Development aid or Political statements. Linear multiple regression analysis showed GDP per capita and political stability to be among the most influential determinants of news coverage.
Unaufhörliches Suchen – Gaddas Roman Quer pasticciaccio brutto de via Merulana als carmen perpetuum
(2016)
Gadda’s novel Quer Pasticciaccio brutto de Via Merulana tells the tale of two crimes committed in Rome in the 1920s. The search for the perpetrators turns into a pasticciaccio brutto (an awful mess), challenging the reader with its linguistic complexity and a myriad of references to history and culture; the large number of allusions to antiquity is particularly striking. References to Virgil’s Aeneid and to Rome’s mythical past do not constitute a mere transfer, but document a creative approach of transformational nature. Deformation and inversion are part of this process, changing the μορφή not only in formal terms, but also within the plot itself. These transformations of both form and content are read as Metamorphoses and analysed in comparison to Ovid’s homonymous work. The perpetual, never-ending quest for truth in Gadda’s novel necessitates a perpetual, never-ending narrative, which is conceptually related to Ovid’s carmen perpetuum.
Multilingualism is part of our everyday lives and has recently entered the medium of film. Based on the linguistic diversity of Spanish-speaking countries, the present paper explores multilingualism as a key competence of foreign language learning. Since film provides students with audiovisual access to multilingual situations, a selection of educational videos that form parts of German textbooks will be critically explored concerning the presentation of multilingual phenomena. The results will be discussed in order to contribute to the systematic acquisition of multilingual skills in the sense of language and cultural awareness during classroom learning.
To indicate emphasis, auxiliary do is used in affirmative contexts (do+) when no other auxiliary is present. It is thus rooted in the grammatical system of do‐support; however, do+ does not always bear stress and can fulfil various discourse‐marking functions (Nevalainen & Rissanen, 1986). Positioned at the intersection of grammar and discourse, do+ constitutes an interesting study for its use in ‘non‐native’ varieties of English since it can be assumed that the more salient grammatical functions are easier to master for learners. Focusing on Asian Englishes in contrast to Inner Circle varieties, this exploratory paper assesses the frequency and distribution of do+ in the spoken and written parts of eight ICE components.
The article deals with the educational comics of the Mozambican artist Sérgio Zimba, especially in the context of the current pandemic situation caused by Covid-19. First, comics from and comic research on Africa will be presented, especially in their repercussion within the German-language comics landscape. This will be followed by a discussion of the special situation in lusophone Africa, exemplified and illustrated by the works of the Mozambican cartoonist Sérgio Zimba. The article closes with a brief comparison of Zimba’s work with the cartoons of Sérgio Piçarra from Angola, to better classify the artist's work.
Economic, academic or artistic cooperation among actors of different countries or disciplines offers numerous new perspectives, but it also confronts the ones profiting from it with several challenges. First, identity has to be firmly established, which requires intercultural skills, such as role-distance, empathy and tolerance for ambiguities. Secondly, a third space is required in which meaning can be newly negotiated to make the partnership succeed. This paper proposes that even within one and the same language-group, one can speak of intercultural communication. A particular collaboration between Portuguese-speaking comic artists will be introduced, raising questions of the conditions necessary to make such a cooperation work. Answers will be provided according to the decisions the artists made in their publications.
Due to an ever-increasing number of automobiles on the roads, automobility fails more and more to fulfil its promise of free individual mobility, leading to traffic density and congestions of unprecedented proportions. However, those conditions seem to possess an aesthetic potential which we seek to analyze in terms of literature. Therefore, we are going to look on three novels from Romance-language areas: Julio Cortázar’s short story La autopista del sur (1966), Carlo Lucarelli’s novel Autosole (1998) and Grégoire Gauchet’s novel Les robinsons de l’autoroute (2018). First, we will analyze the nature of deceleration/congestion by referring to human geographer Tim Cresswell’s concept of friction. Second, we will examine recurring motifs linked to the deceleration/congestion in all novels before taking a closer look at Gauchet’s novel where the friction not only applies to traffic but also to human relationships. The aim is to look at different literary representations of an everyday experience like traffic congestion and to see how literature deals with such an occurrence.
No abstract available.
No abstract available.
The present article aims to examine images of the Mediterranean Sea in Jean-Daniel Pollet’s essay film Méditerranée (1963), with a particular focus on its representation as a multifaceted space of cultural memory. After some preliminary observations on the relation between the essay film as a genre and images of the Mediterranean, I shall, on the one hand, have a look at the semantic processes through which the film builds up a recognizable image of the Great Sea. On the other hand, however, I will argue that, at the same time, Méditerranée calls this signifying process into question by representing the sea as a space of cultural memory understood as a space of becoming and of deferral of meaning.
Abstract
Constructing evidence constitutes a practice to establish the speaker's authority at Prime Minister's Question Time (PMQT), a weekly half-hour session in the British House of Commons. Here the verb see constitutes a resource for both the questioning Leader of the Opposition (LO) and Members of Parliament (MP) as well as for the responding Prime Minister (PM) to claim first-hand perceptual experience. This paper takes an integrated approach, offering a combined analysis of the grammatical formatting, semantics and pragmatics of the verb see in the context of evidential moves at PMQT. It shows how the verb see is functional in referring to the perceptual basis of a claim made and how its grammatical formatting is reflective of the contingencies of the local interactional context. The analysis is grounded in 32 sessions of PMQT (ca. 16 hrs of video-recordings). The results can be summarised as follows: 1) The evidential function of the verb is achieved through its context-specific grammatical formatting and semantics. 2) The reference to the perceptual basis of a claim evoked by see may co-occur with epistemic qualification and evaluative expressions. 3) The formatting of the verb may be indexical of the political relationship between the questioner and the responding PM.
Peau d’Âme has often been regarded as an enigmatic and mysterious text which prevented a broad attention and interpretation since its posthumous publication in 1935. But putting the perspective on Pozzi’s Journal, particularly during the years 1920 and 1921, allows us to discover a significant intertextuality between both of them. Catherine Pozzi’s perception of space in her every day writing does not differ from her philosophical work, since for her the concepts of center and periphery do not form a strict dichotomy. It becomes superfluous in a world without limits. The perception and philosophy of Catherine Pozzi tends to go beyond the boundaries of space which allows us, as readers of these two forms of writing, to comprehend her vision of a spatial and temporal eternity.
Over the past few decades, a multitude of scientific research has been published on the topic of discourse markers, intending to define this linguistic phenomenon. Despite this increase of interest in discourse markers, fundamental questions pivotal to a clear definition remain unanswered. On basis of an empirical analysis of Spanish, Portuguese and Catalan discussions, this essay sets out to demonstrate that combining of the two prevailing research approaches (formal-syntactical vs. functional-pragmatic) has advantageous effects on the definition of discourse markers.
Verstreut über den ganzen Text der Göttlichen Komödie kommen verschiedene geographische Namen vor, die sich auf Spanien beziehen. In mehreren dieser Fälle hat Dante die im wörtlichen Schriftsinn verwendeten toponymischen Zeichen als Elemente hermetisch wirkender Aussagen und damit offenbar als Indizien einer verborgenen Botschaft konzipiert. Zum Nachweis dieser These soll in den folgenden Betrachtungen erkundet werden, welche Funktion den im wissenschaftlichen Weltbild des Dichters verankerten spanischen Land- und Städtenamen in der Komposition des Epos zukommt. Damit möchte ich meinem Kollegen und Freund Gerhard Penzkofer für die vielen anregenden Gespräche danken, die wir – in den Jahren der gemeinsamen Tätigkeit in der Würzburger Romanistik – vor allem über cosas de España führen konnten. Da der vorliegende Band unter den von seiner Lehre inspirierten Leitbegriffen Kommunikation und Repräsentation steht, bietet es sich am Schluss an, die beiden Konzepte mit den vom Dichter diskutierten Termini sensus litteralis und sensus allegoricus in Beziehung zu setzen.
When it comes to linguistic norms in France, one standard will be immediately evoked – le bon usage. This version of traditional French is taught at school and has been serving as a model ever since the French Revolution. Yet – and maybe as a counter-reaction to such strict and prescriptive norm – there exists a multitude of alternative forms, especially with regard to the lexis, which are marked by different registers or styles. Thus, the French language is characterized by lexical doublets in the transition area between standard and familier. A varied terminology in the description of styles in dictionaries as well as a stigmatisation of the nonstandard lead to speaker insecurities and to a general devaluation of the parallel vocabulary. What are the consequences of this in speech behaviour? Is there a remarkable difference between speech behaviour and prescriptive norm? Do speakers show any sign of linguistic insecurity when using nonstandard structures? The research issue will be addressed by means of a qualitative analysis of videoblogs from French YouTubers.
This essay argues that Orwell’s representation of animals as companion species offers a strikingly new, as-yet largely neglected view of animal agency and interiority in his work. In “Shooting an Elephant”, Burmese Days and “Marrakech”, the writer’s focus on the social reject is supplemented by a marked sense of community implying human tragedy yet framing it within precariously situated human-animal, colonial or urban-imperial transitions that visualise animals as agents of change and co-shaping species interdependent with the lives of the humans that utilize and domineer them. Animals are required whenever Orwell aspires to shift from isolation to communality, from the self-conscious outsider to the larger realm of ideas framing the world in which his characters strive to overstep the accepted lines of social performance and conformity. Read in and around disciplinary structures of rationalization, Orwell’s animals appear to secure themselves, quite paradoxically, a place within the normative anthropocentric framework excluding them. They extend beyond anthropomorphising or allegorical modes of description and open up bio-political perspectives within and across regimes of knowledge and empathy. Orwell’s writings thus present a challenge to the culturally accredited fantasy of human exceptionalism, collapsing any epistemic space between humans and animals and burying the idea of sustaining radical species distinction.
In Enrique Gaspar y Rimbau’s 1887 science fiction novel El anacronópete, comedy presents itself in a variety of guises. One of the central comic elements of the book is the playful way in which the lower class characters, namely the maid Juana and the soldier Pendencia, engage with language. This article will compare Gaspar’s El anacronópete with two of its official translations, Leyla Rouhi’s The Anacronópete and Yolanda Molina-Gavilán and Andrea Bell’s The Time Ship: A Chrononautical Journey, in order to ascertain to what extent the Spanish author’s comic touch is preserved in the English translations of Juana’s and Pendencia’s speech. The maid’s and the soldier’s use of double meaning, the mondegreen, and code-switching will be the specific focus of our analysis. We will see that, as Salman Rushdie claims, although «[i]t is normally supposed that something always gets lost in translation […] something can also be gained» (1991: 17).
This article is dedicated to the analysis of the body, which is staged as sick and painful. El último cuerpo de Úrsula by Peruvian author Patricia de Souza is characterized by the connection between body, pain perception and eroticism. Illness and paralysis play a fundamental role in the narrative because they cause the recomposition of the ego, which leads the protagonist, Úrsula Res, to perceive and reflect the fragmentation of her identity and the increasing distance from her body. Through approaches to pain and disability, the expressiveness of the narrativized eroticism of this text, based on an obedient relationship to the body, is revealed.
This article focuses on selected Latin American female rap artists (Anita Tijoux, Rebeca Lane, and the duo Krudas Cubensi), and the way they perform feminism, autobiography and testimony through their lyrics and performances. The analysis concentrates on the synergies between the texts themselves, the official music videos shared on YouTube and the background music. It aims to demonstrate that only such a synergistic approach to rap allows a profound understanding of its particularities and its contributions to feminist discourses and spaces for feminist testimony in the current rise of both right-wing politics and feminist movements on the continent.
In this article dedicated to Jean-Paul Sartre’s first novel La Nausée, we analyze how the idea of conversion to art grows in the imagination of the hero, Antoine Roquentin. Furthermore we show that all the narrative actions in the novel are based on the hero’s communicational interaction with the other characters. This lonely person who complains in his diary about social exclusion, yet he converts to art not through his reflections, but through communica-ting with the other characters. Also, many critical studies on La Nausée have considered jazz music that the hero listens to in a café as the critical moment of his conversion. In our opinion this reflects juste one phase of a connected sequence of events through which the hero passes from a state of relational negativity and existential alienation to a state of openness, achieved again mainly by the virtue of other characters.
After independence, in the sixties, sub-Saharan Africa including Francophone, saw moving to the head of his governments, dictatorial powers. Henri Lopès translated this in his work by a formal violence. We will study in this paper, the violence employed by the Congolese novelist in Le Pleurer-rire (1982): the technique of fragmentary. Our work is structured in three parts: the presentation of formal violence in Le Pleurer-rire, manifestations of postcolonial political system in this novel and the operation of the technique of fragmentary.
The present study focuses on Marion Maréchal-Le Pen’s self-representation on social media. Despite her youth, the niece of the party’s chairwoman and granddaughter of its founder is a distinguished member of the French radical right-wing populist and nationalist party Front National. The corpus-based analysis of her digital presence on Twitter, Instagram and Facebook on which this paper is based shows a specific use of linguistic and multimodal resources as a means of strategic framing of political content. In particular, an analysis of Maréchal-Le Pen’s use of searchable hashtags and @mentions referring to different political and non-political actors reveals it as a strategy of polarization between a constructed us and a negatively connoted them.
To this day, Lorca’s most popular plays, the Trilogía dramática de la tierra española, are considered to be among the most widely read texts of twentieth century Spanish literature. By combining elements from Antiquity with classic and modern features of Spanish theatre and placing them in new functional contexts, the author succeeds in creating an innovative theatre of sociocritical nature in times of political repression. This article analyses several of these innovations and aims to demonstrate the influence Lorca’s Tragedias rurales still have on today’s literature and culture. Simon Stone’s play Yerma (2017) and the Netflix series Las Chicas del Cable (2017-2020) are approached here with this purpose.
This article deals with discursive and argumentative strategies used by Brazilian President Jair Bolsonaro to bring science in discredit during the 2020’s COVID-19-pandemic. Based on official statements and Tweets launched over the crisis the Discourse-Historical Approach is applied to make strategies brought into play by Bolsonaro visible. While the President declares scientific advice such as distancing and quarantine as ineffective, he recommends the use of hydroxychloroquine as well as old fashioned prayers for staying safe and healthy. He evokes that there are «fake news» and «partners of paralysis», to which he responds by demasking and bringing the one and only truth towards «the people». The analysis points out that Bolsonaro is downplaying the virus and the risk of transmission and puts the economy ahead of health. His supporters as a consequence tend to ignore the
WHO recommendations how to behave during the pandemic.
This article explores the construction of Catalan masculinity and Catalan identity in literature on the Spanish-Moroccan War of 1859/60. During the war, an immense amount of patriotic literature in Catalan language was published in Catalonia, in which the authors glorified the deeds of the Catalan general Joan Prim i Prats and of the Catalan volunteers who fought in the war. The article aims to illustrate, on the basis of the analysis of poems, theatre plays, patriotic songs, reports and chronicles written by Catalan authors, the importance of the First Spanish-Moroccan War for the development of Catalan identity. It attempts as well to demonstrate that the authors used the literature about the war to diffuse a specific Catalan ideal of masculinity and to stylize General Prim and the volunteers into national heroes, who embodied the strength of the Catalan cultural nation, since the Catalan community needed new idols after a long time of political and cultural decline caused by the centralist policies of the Spanish state. The Catalan ideal of masculinity was utilized to differentiate the Catalans from the other Spaniards whose masculinity was considered to be in decadence by the other European nations.
With her famous suggestion to «give her [the woman] a room of her own and five hundred a year, let her speak her mind» from 1929, Virginia Woolf verbalized a core issue of female
writing by hinting at the socioeconomic circumstances and domestic obligations of most women – valid at her times, but still today. Both Elena Ferrante and Annie Ernaux discuss, in their respective novels, the topics of being women in the particular sociocultural landscape (in Italy and, respectively, in France) after World War II and up to these days, the themes of marriage and motherhood, employment and especially (female) authorship. This article aims to show in a close reading of both Ferrante and Ernaux that the two writers play with the literary form of the (auto-)biography on a diegetic, but also extradiegetic level, while formulating at the same time a collective work that embraces the experience of womanhood but circumvents the hazard of a merely subjective and sensitive writing, as female writing has sometimes been claimed to be.
In the wake of the general tendency towards slow cinema which has been evolving in Mexican cinema, cinematographic devices have gained importance not only with regard to the construction of a persuasive narrative but also in terms of the aesthetic constitution of the movie itself. Not only is this observation evident in the absence of camera movements but also in the semiotic depth of mise en scène resulting from this circumstance. Natalia Almada’s movie Todo lo demás (2016) provides an impressive example of both the repercussions of this technique in the representation of loneliness as well as the suggestive power of the scenographical composition. Hence, the ensuing analysis of those scenes referring to water is to elucidate the semiotics of mise en scène and its influence on the representation of the main character and the repetitive routine constricting her freedom.
This article examines principles of gender assignment in the German and Spanish language and in this way tries to answer the question of why loanwords are preferably assigned a particular gender and what criteria motivate this choice. After introducing some general aspects about gender as well as some important properties of the German and Spanish gender systems, this paper compares several formal (morphological and phonological) and semantic rules regarding gender assignment. Despite large structural differences between the languages, the comparison shows that the assignment rules prove to be in a sense cross-lingual, which do not only testify to the assumption but also the validity of an underlying system of rules.
The present article examines the narrative modes in which Lebanese author Amin Maalouf investigates his roots in Origines a hybrid work which stands in contrast with his previous essays and fictions as to its (auto)biographical dimension. Resembling what Dominique Viart and Bruno Vercier in their analysis of predominant themes and narrative strategies in contemporary French literature name «récit de filiation», Maalouf’s quest for his familial past explores the concept of intergenerational transmission of memory. However, despite this individual postmemorial approach, Maalouf’s intimate writing is intrinsically linked with the complex history of the Ottoman Empire and therefore with collective narratives of war, diasporic identities, and migration relating to the present time or the recent past.
This article deals with the outstanding linguistic character of Salvatore in Umberto Eco’s novel Il nome della rosa. The first section is a critical review on problems and potentials of linguistic analyses of fictional texts, especially of those which have been written in uncommon or inexistent languages. The text-based analysis of Salvatore’s polyglot idiolect shows that this is more than a simple and confused mixture of Latin, German, and some Romance dialects and languages. Based on the linguistic concepts of intertextuality, frame-dependent text styles, and diaphasic variety several language choices in Salvatore may be explained in a new way. The analysis of four concrete text fragments also envisions the possibilities of a deeper comprehension of Salvatore’s utterances through attentive context reading.
This article aims to trace the development of different verb forms that express future tense of Old Portuguese from the 13th to the 15th century by analyzing a historical text corpus. During this period, Portuguese future tense could be expressed through one synthetical as well as two analytical morphological verb constructions. Adapting an analytic model formerly employed by the Mexican researcher Concepción Company Company for an investigation of similar future tense forms in Old Spanish, this article seeks to point out that the use of the different verb forms in Portuguese followed distinct functions regarding aspects of both information structure as well as modality.
Women in Caribbean culture traditionally occupy the role of guardians of collective memory, as tellers of stories, legends and myths. Through oral tradition, they transfer the cultural and family knowledge from one generation of women to the next. We will offer an analysis of oral transmission as a way of preserving a memory of women in Le livre d’Emma (2001) by the Québec author of Haitian origin, Marie-Célie Agnant. We will primarily analyze the transformation of communicative memory into cultural memory, following the distinction by Jan Assmann. We will interpret the oral transfer as a possibility to stabilize, to legitimize female memory and to inscribe it into the female body.
The arrival of the Spanish in present-day Oaxaca, Mexico, led to manifold communicative challenges and was the origin of the first written documents in the local indigenous languages. This paper focuses on Spanish-Zapotec translations produced by Christian missionaries during the colonial period. In this context, it aims to investigate the expression of the concept of soul in their catechisms and confesionarios by analyzing chronologically how different authors apply the Spanish synonyms alma and ánima. On the one hand, we can observe some similar tendencies in central Mexican documents for the early colonial period so that we can assume that the corpus was influenced by Nahuatl translations. On the other hand, there is an independent development in Spanish-Zapotec translations not only regarding the target text but also the source text.
Kein Abstract verfügbar.
AbstractUne tradition grammaticale largement répandue distingue trois types de relations entre propositions, donc trois types de phrases complexes: les propositions juxtaposées, les propositions coordonnées et les phrases hypotaxiques. Riegel et al. (2009) ajoutent en outre les phrases avec incise ou incidente comme quatrième type. Les grammaires et traités décrivent les différentes sortes de coordination (copulative, disjonctive, adversative, causale et consécutive) et de subordination (complétive, relative et circonstancielle). Pourtant, jusqu’à présent il n’existe pas, à ce qu’il semble, de description plus détaillée, ni des divers degrés de l’hypotaxe et de la parataxe d’une part, ni des différentes combinaisons de structures hypotaxiques et parataxiques d’autre part. Le but de cet article est donc de proposer une typologie plus complète des phrases complexes sur la base d’un petit corpus de référence. Cette typologie distinguera, d’un côté, divers degrés de phrases parataxiques homogènes et de phrases parataxiques hétérogènes et, de l’autre côté, des phrases hypotaxiques simples et des phrases hypotaxiques multiples.
This article summarises an examination of sentence patterns in modern European standard Spanish, in order to give an answer to the following questions: How many different sentence patterns are there and which are the most frequent patterns in modern European Spanish? Based on the principles of verb valency, as established by Lucien Tesnière and further developed by Ulrich Engel and others, a corpus of 500 sentences is analysed, identifying the sentence patterns of the main clauses. The analysis shows 19 different sentence patterns, the most frequent of which is p-s-cd, that is, predicate – subject – direct object. Subsequently, the results are compared to those of a different study on Spanish sentence patterns.
This paper intends to trace the introduction of an English-induced, COVID-related neologism, covidiota, into the Spanish language. The study is based on a corpus of tweets, starting in March 2020. It examines several specific features which mark the word as a new, unfamiliar item, such as different ways of graphical highlighting, for example. On the other hand, the paper aims to detect possible indicators of an integration of covidiota into the Spanish language use in the tweet corpus compiled for this case study.