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Tears for Fears: Alienation and Authority in the World of Benedict of Aniane 恐惧的眼泪:本尼迪克特世界的异化与权威
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2019-09-09 DOI: 10.16995/olh.314
Frances Trzeciak, Rutger Kramer
In this article, we will take a closer look at the role played by the depiction of weeping and tears in the story of the conversion of Benedict of Aniane. According to his hagiography, Benedict, seen as one of the most important intellectuals at the Carolingian court in the late eighth and early ninth century, started his career as a secular aristocrat before undergoing an inner conversion and subsequently pursuing a monastic lifestyle. As presented by the contemporary hagiographer Ardo, the tears, rather than denoting any kind of ‘abnormal’ behaviour, were among the first external signs of this conversion. As such, they should be analysed not only in terms of the behaviour of a historical figure, but also as a narrative trope with many layers of meaning that would have presented themselves to a contemporary audience familiar with the same traditions as the author of Benedict’s vita. Rather than simply denoting the emotionality of the protagonist, they signalled the author’s concerns about the state of the world as well, and as such should be seen as a way of ‘normalising’ rather than exoticising Benedict’s conversion against the broader backdrop of Carolingian court culture in the early ninth century.
在这篇文章中,我们将仔细观察在阿尼安的本尼迪克特皈依的故事中,哭泣和眼泪的描绘所扮演的角色。根据他的圣徒传记,本尼迪克特被视为八世纪末和九世纪初加洛林王朝最重要的知识分子之一,在经历内心皈依并随后追求修道院生活之前,他以世俗贵族的身份开始了自己的职业生涯。正如当代圣徒传记作家阿多所说,眼泪并不是指任何一种“异常”行为,而是这种转变的最初外部迹象之一。因此,它们不仅应该从历史人物的行为来分析,而且应该作为一种具有多层含义的叙事修辞来分析,这些叙事修辞本可以呈现给熟悉与本尼迪克特简历作者相同传统的当代观众。它们并不是简单地表达主人公的情感,而是表达了作者对世界现状的担忧,因此应该被视为一种“正常化”的方式,而不是将本尼迪克特在九世纪初加洛林宫廷文化的更广泛背景下的皈依视为异国情调。
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引用次数: 1
‘It is Introspective, and I Want to Introspect’: Detection, Isolation, and Neurotypicality in Crime Fiction, c. 1891–1940 “它是内省的,我想内省”:犯罪小说中的侦查、隔离和神经典型性,约1891-1940年
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2019-09-06 DOI: 10.16995/olh.461
Samuel Saunders
A variety of psychoanalytic readings of late-Victorian and early-twentieth century crime fiction often place the detective at the centre of their analysis, depicting them as a conduit through which readings of other aspects of the genre can be articulated. Samantha Walton, for example, explores the idea that the ‘the detective [acts as the] diagnostician of the self’, and goes on to argue that ‘[t]he central place of psychological discourses in the golden age novel both incites and responds to specific cultural anxieties about selfhood’ (2015: 275). Consequently, however, the psychological effects of performing the role of ‘detective’ remain under-examined. Arthur Conan Doyle’s famous Sherlock Holmes performs his detection under constant scrutiny from those around him who fail to understand his mental processes. In the early twentieth century, Dorothy L. Sayers’s Lord Peter Wimsey struggles to reconcile the tension between his position as ‘aristocrat’ and ‘detective’, and also has difficulty with disassociating his activities as a detective with his experiences in the First World War. Agatha Christie’s Hercule Poirot’s ‘othered’ position as of a different nationality to most other characters psychologically isolates him, whilst his compunction for the domestic does not mesh with his activities as an externally-othered figure. This article performs a reading of Doyle’s Sherlock Holmes, Sayers’s Lord Peter Wimsey, and Christie’s Hercule Poirot and offers a tentative exploration of how these classic ‘detectives’ are often physically, socially, narratively and psychologically isolated by performing their role.
对维多利亚晚期和二十世纪初犯罪小说的各种精神分析解读往往将侦探置于分析的中心,将其描绘成一个渠道,通过这个渠道可以解读该类型的其他方面。例如,萨曼莎·沃尔顿(Samantha Walton)探讨了“侦探[充当]自我的诊断者”的观点,并继续认为“心理话语在黄金时代小说中的中心位置既煽动又回应了关于自我的特定文化焦虑”(2015:275)。然而,因此,扮演“侦探”角色的心理影响仍有待研究。阿瑟·柯南·道尔笔下著名的福尔摩斯在周围那些不了解他的心理过程的人的不断审视下进行侦查。20世纪初,多萝西·L·塞耶斯笔下的彼得·维姆西勋爵努力调和他作为“贵族”和“侦探”的地位之间的紧张关系,也很难将他作为侦探的活动与第一次世界大战中的经历脱钩。阿加莎·克里斯蒂(Agatha Christie)饰演的赫尔克里·波洛(Hercule Poirot,以及佳士得的Hercule Poirot,并对这些经典的“侦探”如何在履行职责时经常在身体、社会、叙事和心理上被孤立进行了初步探索。
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引用次数: 0
The Insanity Plea in The Butcher’s Wife 《屠夫的妻子》中的精神错乱辩护
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2019-08-26 DOI: 10.16995/olh.451
Lung-Lung Hu
In 1983, Li Ang, a Taiwanese writer, adapted a case about the killing of a husband, committed by Zhan Zhou Shi in Shanghai in 1945, into the novel The Butcher’s Wife (1983). The case is also recorded in The Hearsay in Shanghai (1955) written by Chen Ding-Shan. The Butcher’s Wife depicts a woman who, due to her traumatized childhood and psychological condition caused by her husband and neighbours, kills her husband, a butcher, and dismembers the body the way he does pigs. Li Ang’s novel tries to offer a legal explanation to exonerate the butcher’s wife, Lin Shi, through a plea of insanity. In this article, I will compare the case of Zhan Zhou Shi both in the media and in The Hearsay in Shanghai with The Butcher’s Wife to illustrate Li Ang’s reinterpretation of the case and explain how Li Ang goes beyond the insanity pleas that strengthens a stereotypical image of insane female offenders.
1983年,台湾作家李昂将1945年詹周石在上海杀害丈夫的案件改编成小说《屠夫的妻子》(1983)。陈鼎山的《上海传闻》(1955)也有记载。《屠夫的妻子》描绘了一个女人,由于童年受到创伤,加上丈夫和邻居造成的心理问题,她杀死了屠夫丈夫,并像他杀猪一样肢解尸体。李昂的小说试图提供一个法律解释,以精神错乱为由为屠夫的妻子林诗开脱。在这篇文章中,我将比较媒体和《上海传闻》中的詹周石案与《屠夫的妻子》中的詹周石案,以说明李昂对此案的重新诠释,并解释李昂如何超越了精神错乱的辩护,这种辩护强化了精神错乱女性罪犯的刻板印象。
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引用次数: 0
Brexitiness: The Ebbs and Flows of British Eurosceptic Rhetoric since 1945 脱欧:1945年以来英国疑欧主义修辞的波折
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2019-08-22 DOI: 10.16995/OLH.424
C. Mair
The 2016 EU referendum has already left a lasting imprint on the English language. Building on previous research (e.g. Lalic-Krstin & Silaski 2018, Buckledee 2018), the present article integrates discourse-analytical and corpus-based methods to explore current developments and place them in the historical context of the past 70 years. Using the News on the Web (NoW) corpus, which covers the years from the run-up to the referendum to the present, I will show that Brexit discourse comprises not only the neologisms inspired by the event itself, but also a number of tropes such as ‘take/want (one’s) country back’, ‘take back control’, ‘(a truly) global Britain’, and more, most of which have developed from discourses of long historical standing. This history will be explored using the Hansard Corpus, which – despite caveats articulated by Mollin (2007) – has proved a valuable resource for the purpose at hand. The analysis will show that at various stages since 1945, Euroscepticism has meshed both with the rhetoric of the political left and the political right and that, ultimately, the UK’s position vis a vis Europe has been negotiated in the context of massive sociocultural transformations such as the dissolution of the British Empire and the European postwar economic boom. Pro-European sentiment, which reached its peak in the 1975 referendum endorsing membership in the European Economic Community, shows Britain having overcome the collective ‘phantom pain’ following the dissolution of the British Empire and the erosion of its position as a major world power. The break-up of this pro-European consensus has revealed cultural rifts in the UK which go deeper than the immediate political and economic context of the Brexit vote.
2016年的脱欧公投已经给英语留下了持久的印记。在之前的研究(如Lalic-Krstin & Silaski 2018, Buckledee 2018)的基础上,本文整合了话语分析和基于语料库的方法来探索当前的发展,并将其置于过去70年的历史背景中。使用网络新闻语料库(NoW),涵盖了从公投前到现在的几年,我将展示英国脱欧话语不仅包括受事件本身启发的新词,还包括许多修辞,如“夺回/想要(一个)国家”,“夺回控制权”,“(真正的)全球英国”等等,其中大多数都是从历史悠久的话语中发展而来的。这段历史将使用汉莎语料库进行探索,尽管Mollin(2007)明确提出了警告,但它已被证明是一种有价值的资源。分析将表明,自1945年以来的不同阶段,欧洲怀疑主义与政治左翼和政治右翼的言论都有交集,最终,英国对欧洲的立场是在大规模社会文化转型的背景下谈判的,比如大英帝国的解体和欧洲战后的经济繁荣。亲欧情绪在1975年支持加入欧洲经济共同体的公投中达到顶峰,这表明英国已经克服了大英帝国解体后的集体“幻痛”,以及英国作为世界主要大国的地位受到侵蚀。这种亲欧共识的破裂,揭示了英国的文化分歧,这种分歧比英国退欧公投的直接政治和经济背景更为深刻。
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引用次数: 3
The Criminal Type in Mid-Twentieth Century Britain: Hamilton, Gorse and Heath 20世纪中期英国的犯罪类型:汉密尔顿、戈尔斯和希思
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2019-07-26 DOI: 10.16995/OLH.472
Victoria Stewart
This article uses Patrick Hamilton’s fictionalisation of aspects of the case of Neville Heath, who was sentenced to death for murder and hanged in 1946, as the focal point for a discussion of how notions of criminality were shifting in Britain in the wake of the Second World War. Hamilton’s novel The West Pier (1951) and its sequels Mr Stimpson and Mr Gorse (1953) and Unknown Assailant (1955) show the author engaging with contemporary media portrayals of criminality, and in reviews critics vacillate between considering Hamilton’s protagonist as either exemplary or exceptional. In Hamilton’s novels and reactions to them, and in the depiction of the Heath case, anxieties about criminality, masculinity and shifts in the social order, are seen to be to the fore.
本文以帕特里克·汉密尔顿(Patrick Hamilton)对内维尔·希思(Neville Heath)案件各方面的虚构为焦点,讨论第二次世界大战后英国的犯罪观念是如何转变的。汉密尔顿的小说《西码头》(1951年)及其续集《Stimpson先生和Gorse先生》(1953年)和《未知的袭击者》(1955年)显示,作者参与了当代媒体对犯罪的描述,在评论中,评论家们在认为汉密尔顿的主人公是模范还是杰出之间摇摆不定。在汉密尔顿的小说及其反应中,以及在对希思案的描述中,对犯罪、男子气概和社会秩序转变的焦虑被认为是最突出的。
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引用次数: 0
Music and Narrative in the Eighteenth Century: Gluck’s Iphigénie en Aulide as Dramatic Tableau 18世纪的音乐与叙事:格鲁克的《奥立德的伊菲格尼》
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2019-07-16 DOI: 10.16995/OLH.131
K. Fenby-Hulse
This article puts forward a new theory for discussing eighteenth-century music as narrative by combining literary theories of narrative with an analytical and historical exploration of the eighteenth-century opera overture. Through a consideration of how the overture to Iphigenie en Aulide prepares spectators for the ensuing drama and through a reconsideration of the role of (often ignored) devices such as musical repetition, this article shows how theories of theatre, drama, and narrative can inform our understanding of how music can be thought of in narrative terms and how eighteenth-century music was able to express a dramatic argument akin to that of a literary narrative. A hermeneutic approach is taken throughout that combines a (structuralist) analysis of the overture with a (poststructuralist) investigation into the overture’s reception history and of eighteenth-century literary and dramatic theory. By proposing that music has a narrative potential, rather than an explicit structural narrative, the article seeks to provide a theoretical bedrock for future studies that place the ‘reader’ or listener as participant.
本文将文学叙事理论与对18世纪歌剧序曲的分析和历史探索相结合,提出了一种新的理论来讨论18世纪音乐作为叙事的问题。通过对《伊菲igenie en Aulide》序曲如何让观众为随后的戏剧做好准备的考虑,以及通过对音乐重复等(经常被忽视的)设备的角色的重新思考,本文展示了戏剧、戏剧和叙事理论如何告诉我们如何用叙事的方式来思考音乐,以及18世纪音乐如何能够表达类似于文学叙事的戏剧论点。全书采用了一种解释学的方法,将序曲的(结构主义)分析与序曲的接受历史和18世纪文学和戏剧理论的(后结构主义)调查相结合。通过提出音乐具有叙事潜力,而不是明确的结构叙事,文章试图为未来的研究提供理论基础,将“读者”或听众作为参与者。
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引用次数: 0
Recycling Discarded Histories to Chronicle Identities: Making Art from Waste in Mozambique 将废弃的历史回收为编年史身份:莫桑比克的废物艺术
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2019-07-12 DOI: 10.16995/OLH.357
Amy Schwartzott
Contemporary Mozambican artists who utilize recyclia as media create artworks that chronicle their society through bits and pieces of its discarded histories. Creating quintessentially Mozambican art, symbolic materials become potent signifiers of this developing nation. This article explores multivalent themes including object materiality, recycling, art making in Africa, and post-conflict resolution to determine why and how Mozambican artists utilize post-consumer waste. Factors including past wars, poverty, and a quest for creative expansion have contributed to widespread use of recycling as an artistic practice in Mozambique, despite artists’ varied economic, social, and educational levels. Mozambican artists who recycle their nation’s pre-used remnants not only connect to past cultural and artistic practices; they continue these traditions within contemporary contexts. By creating artwork from cast-off materials, artists illustrate how recycling permeates all levels of society, including its broad expansion into art making, and how the use of reprocessed materials both inspires and instills a sense of pride in artistic practices. Themes addressed in artwork made from recyclia include politics, social commentary, and cultural heritage. Artists include Fiel, who transforms destroyed weapons of Mozambique’s past wars into powerful tools for peacebuilding and post-conflict resolution; Carmen, who uses her old dresses to create hanging fabric pieces that capture shadows creating dissonance between light and dark; Joao, who calls for donations of jeans on Facebook that he will patch together and use as a variegated background supports for painting; and Pekiwa, who critiques Mozambican society through his use of recycled boats, windows, and doors.
当代莫桑比克艺术家利用回收物作为媒介,创作艺术品,通过被丢弃的历史碎片来记录他们的社会。创造典型的莫桑比克艺术,象征性材料成为这个发展中国家的有力标志。本文探讨了多种主题,包括物品的物质性、回收利用、非洲的艺术创作和冲突后的解决方案,以确定莫桑比克艺术家为什么以及如何利用消费后的废物。尽管莫桑比克艺术家的经济、社会和教育水平各不相同,但过去的战争、贫困和对创造性扩张的追求等因素,促成了回收利用作为一种艺术实践在莫桑比克的广泛使用。莫桑比克艺术家们回收他们国家以前使用过的残余物,不仅与过去的文化和艺术实践联系起来;他们在当代的环境中延续着这些传统。艺术家们用废弃材料创作艺术品,展示了回收如何渗透到社会的各个层面,包括它在艺术创作中的广泛扩展,以及再利用材料如何在艺术实践中激发和灌输一种自豪感。由回收物制成的艺术品的主题包括政治、社会评论和文化遗产。艺术家包括菲尔,他将莫桑比克过去战争中被摧毁的武器转化为建设和平和冲突后解决方案的有力工具;卡门(Carmen)用她的旧裙子创作出悬挂式布料,捕捉阴影,创造出明暗之间的不和谐;Joao在Facebook上呼吁捐赠牛仔裤,他会把这些牛仔裤拼接在一起,作为绘画的杂色背景;还有Pekiwa,他通过使用回收的船只、窗户和门来批评莫桑比克社会。
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引用次数: 1
Delineating the Missing Film Genre: Eutopia 描绘缺失的电影类型:乌托邦
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2019-06-27 DOI: 10.16995/OLH.302
S. Bunn
This article begins by positing the absence of the eutopian genre within mainstream film and hypothesising that such an absence is worthy of artistic exploration. After discussing why film is considered crucial, the article examines Utopian Studies articles by Peter Fitting, Peter Ruppert and Robert Shelton, who discuss utopia in film with reference to Lyman Tower Sargent’s definition of utopia. The article suggests that although these writers also detected an absence of eutopian film, their analysis was obscured by focussing on the ‘utopian impulse’, a more important tool for scholars than artists. The distinction between the ‘utopian impulse’ and the ‘utopian art-form’ is probed with reference to Fredric Jameson and Douglas Kellner, suggesting that the missing genre might be better described as the utopian art-form. Problems raised by the words ‘utopia’ and ‘eutopia’ are then discussed. ‘Eutopia’ is found to be more suitable for the article’s aims. Following a short summary of utopia’s historical reputation, where Adorno’s argument against describing positive imaginaries is addressed, Tower Sargent’s definition of ‘eutopia’ is explored with reference to the ‘sociopolitical’, ‘place’ and relation of eutopia to its readers. These terms are used to examine the relevance of three films (Black Panther (2018), Tomorrowland (2015) and Blade Runner 2049 (2017)) to the eutopian art-form, showing how using these terms can help to understand what the eutopian art-form is and how to create new instances of it. A closing look at the existing field of mainstream film leads to a summary of this article’s findings, namely that the eutopian art-form is absent and that this space presents a valid space for new artistic creation.
本文首先假设主流电影中乌托邦类型的缺失,并假设这种缺失值得艺术探索。在讨论了为什么电影被认为是至关重要的之后,本文考察了彼得·菲廷、彼得·鲁珀特和罗伯特·谢尔顿的乌托邦研究文章,他们参照莱曼·塔·萨金特对乌托邦的定义讨论了电影中的乌托邦。这篇文章表明,尽管这些作家也发现了乌托邦电影的缺失,但他们的分析被“乌托邦冲动”所掩盖,而“乌托邦冲动”是学者比艺术家更重要的工具。“乌托邦冲动”和“乌托邦艺术形式”之间的区别是通过参考弗雷德里克·詹姆森和道格拉斯·凯尔纳来探讨的,这表明缺失的类型可能被更好地描述为乌托邦艺术形式。然后讨论了“乌托邦”和“乌托邦”这两个词所引起的问题。“乌托邦”被认为更适合这篇文章的目的。在对乌托邦的历史声誉进行简短的总结之后,阿多诺反对描述积极想象的论点得到了解决,塔·萨金特对“乌托邦”的定义是通过参考“社会政治”、“地方”和乌托邦与读者的关系来探索的。这些术语被用来研究三部电影(《黑豹》(2018)、《明日世界》(2015)和《银翼杀手2049》(2017))与乌托邦艺术形式的相关性,展示如何使用这些术语有助于理解什么是乌托邦艺术形式,以及如何创造新的乌托邦艺术形式。回顾主流电影的现有领域,可以总结本文的发现,即乌托邦式的艺术形式是缺席的,这个空间为新的艺术创作提供了一个有效的空间。
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引用次数: 0
Digital Humanities in the Memory Institution: The Challenges of Encoding Sir Hans Sloane’s Early Modern Catalogues of His Collections 记忆机构中的数字人文:汉斯·斯隆早期现代收藏目录编码的挑战
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2019-06-26 DOI: 10.16995/OLH.409
Alexandra Ortolja-Baird, V. Pickering, J. Nyhan, K. Sloan, Martha H. Fleming
Catalogues are the core documents of museum structure and meaning. Yet no significant computational analysis has been made of how catalogues from the early modern period are constructed or of the way their structure and content relate to the world from which collections are assembled. The Leverhulme-funded ‘Enlightenment Architectures: Sir Hans Sloane’s catalogues of his collections’ (2016–19), a collaboration between the British Museum and University College London, with contributing expertise from the British Library and the Natural History Museum, seeks to change this. The Enlightenment Architectures project is analysing Sloane’s original manuscript catalogues of his collections to understand their highly complex information architecture and intellectual legacies. In this article we explore some of the challenges of seeking to integrate the methods of digital humanities with those of cataloguing, inventory, curatorial and historical studies and of bringing such interdisciplinary approaches to bear on early modern documentary sources. We do this through two case studies that highlight the approaches to encoding Sloane’s catalogues in TEI that Enlightenment Architectures has employed and the major challenges that these have brought to the fore.
目录是博物馆结构和意义的核心文献。然而,对于现代早期的目录是如何构建的,或者它们的结构和内容与收集藏品的世界的关系,还没有进行重要的计算分析。勒沃胡姆资助的“启蒙建筑:汉斯·斯隆爵士的藏品目录”(2016-19)是大英博物馆和伦敦大学学院的合作,由大英图书馆和自然历史博物馆提供专业知识,旨在改变这一现状。启蒙建筑项目正在分析斯隆收藏的原始手稿目录,以了解其高度复杂的信息架构和知识遗产。在这篇文章中,我们探讨了寻求将数字人文学科的方法与编目、编目、策展和历史研究的方法相结合,以及将这种跨学科的方法应用于早期现代文献来源的一些挑战。我们通过两个案例研究来做到这一点,这两个案例强调了启蒙建筑所采用的在TEI中编码斯隆目录的方法,以及这些方法带来的主要挑战。
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引用次数: 4
Sens et Emplois de l’Expression « Musulmans Modérés » dans les Discours Médiatiques “温和穆斯林”一词在媒体话语中的含义和使用
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2019-06-26 DOI: 10.16995/OLH.431
Manon Pengam, Agata Jackiewicz
This article is a linguistic contribution to research about the representations of Islam and Muslims in French media’s discourses, in which we will specifically focus on the use and meanings of the expression ‘moderate Muslims’. We follow, in a diachronic approach, the emergence and evolution of this expression used in the newspaper Le Monde; then we study its modalities of usage in the discursive moment of the 2015 terrorist attacks. Finally, we put forward a path analysis suitable to the observation of the contexts and modalities of usage (forms of adjustment and negotiation of meaning, modalities of commitment…) of the designations using a semantic and referential instability. Abstraite Cet article est une contribution linguistique aux recherches portant sur les representations associees a l’islam et aux musulmans dans les discours mediatiques en France, dans laquelle on s’interesse plus particulierement au(x) sens et aux emplois de la nomination « musulmans moderes ». Nous retracons, sur le plan diachronique, l’emergence et l’evolution des emplois de l’expression dans le journal Le Monde, puis nous observons ses modalites d’emploi dans le moment discursif des attentats de 2015. On propose enfin un parcours d’analyse adapte a l’observation des contextes et des modalites d’emplois (formes d’ajustement et de negociation du sens, modalites de prise en charge…) des designations presentant une instabilite semantique et referentielle.
本文是对法国媒体话语中伊斯兰教和穆斯林代表性研究的语言学贡献,我们将特别关注“温和穆斯林”一词的使用和含义。我们以历时的方式关注《世界报》中使用的这一表达的出现和演变;然后,我们研究了2015年恐怖袭击讨论时刻的使用模式。最后,我们提出了一条路径分析,适用于使用语义和参考不稳定性观察设计的上下文和使用模式(含义的调整和协商形式、承诺模式…)。摘要本文是对法国媒体话语中与伊斯兰教和穆斯林相关的代表性研究的语言贡献,特别关注“现代穆斯林”一词的含义和用途。在历时层面上,我们追溯了《世界报》中表达工作的出现和演变,然后我们观察了2015年袭击事件的讨论时刻的使用模式。最后,我们提出了一个分析路径,以适应对呈现语义和参考不稳定性的设计的上下文和使用模式(意义的调整和谈判形式、支持模式等)的观察。
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引用次数: 3
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Open Library of Humanities
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