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Le droit d’ouverture de châteaux dans le comté de Namur au Bas Moyen Âge : un témoignage de l’autonomie et du contrôle de fortifications namuroises

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CHANTINNE F., « Le droit d’ouverture de châteaux dans le comté de Namur au Bas Moyen Âge : un témoignage de l’autonomie et du contrôle de fortifications namuroises », dans Actes des VIIe Congrès de l’Association des Cercles francophones d’Histoire et d’Archéologie de Belgique et LIVe Congrès de la Fédération des Cercles d’Archéologie et d’Histoire de Belgique. Congrès d'Ottignies – Louvain-la-Neuve, 26-28 août 2004, Bruxelles, 2007, p. 835-843.


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9,50 €
Théorie et pratique de l’ornementation poétique chez Cicéron
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Cicero did not write poetics but when explaining, in the De Oratore as in the Oraror, how ornatus is produced, he puts the emphasis on poetic language because poets are given more freedom in using and creating words and metaphors. Is that enough to characterise poetical procedures? Yes, as will be shown here, because such poetics focused on words as lumina allows a clear perspective on Cicero’s choices as a poet inasmuch as it echoes Lucretius’ programmatic stance.
 
9,50 €
Les termes interrogatifs en poésie didactique latine. Un trait de différenciation inter- ou intragénérique ?
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This paper will investigate on interrogative markers, especially those of cause and manner, in Latin didactic poetry, in order to see if their distribution is more or less the same in all the texts considered and thus distinguishes this genre of literature among other ones, or else if there are differences between the several poems reflecting various aims pursued by the authors If the latter were the case, this linguistic study might contribute to the typology of Latin didactic poetry afforded by other scholars from a literary point of view.Cicero did not write poetics but when explaining, in the De Oratore as in the Oraror, how ornatus is produced, he puts the emphasis on poetic language because poets are given more freedom in using and creating words and metaphors. Is that enough to characterise poetical procedures? Yes, as will be shown here, because such poetics focused on words as lumina allows a clear perspective on Cicero’s choices as a poet inasmuch as it echoes Lucretius’ programmatic stance.
 
9,50 €
Rythme et syntaxe dans l’hexamètre. Les datifs pluriels des thèmes sigmatiques
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In the sigmatic compounds of the Greek language, it is the root of the adjective which has imposed one of the three endings of the dative plural, <εσι, <εσσσι ou <έεσσι (μνηστηρσιν αναιδεσι vs ανδρασι δυσμενεεσσιν). Concerning the sigmatic nouns, the aoidos has ofen had a choice between <εσι, <εσσσι ou <έεσσι. If the place of words in the hexameter has its importance, rhythmical harmony of syntagms is also the matter.
 
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Poétique des ténèbres. De l’indo-européen au latin
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Latins have lost the oral epic tradition, as kept by Homer and Mahābhārata. The present paper tries to trace out latin formulas which could belong to such a tradition : Indo-European poetry conceived the succession of days and nights as two veils, one being bright, the other dark, which were drawn alternatively over the earth. Latin poetry uses noctem/ tenebras/ auroram (in/ob)-tendere or (in/ob)ducere, but it is not easy to distinguish inherited formulas and borrowings from Greek epic poetry. More surprising is the use of ruere (nox ruit, sol ruit) ; in such a phraseology; ruere could represent an i.-e. root *Hrew- “is red” (hitt. harwanaizzi “the first light of dawn appears”), further confused with ruere “to rush”.
 
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Observations sur le vers saturnien
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The present paper aims at examining the origins of the Latin saturnian verse within the tradition of Italic poetics as an inheritance of Indo-European poetics. Several archaic Latin and Sabellian inscriptions are analysed as metrical texts. We suggest that the Latin saturnian verse may have developped in a short period from the VIth to the IIIrd centuries B.C.
 
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Langue poétique, hyperdialectalismes et langue de chancellerie. Le cas des textes thessaliens et l’origine de ενεκα
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The attestation in Thessalian dialect inscriptions (3rd/2nd Cent.) of forms which are unexpected from the etymological point of view may be explained as due to the confluence of two factors: the influence of the literary (Attic and Ionic) prose and, at the same time, the tendence to give them a Thessalian colour. This is visible even in the case of three forms which show unexpected geminates. In enneka, the geminate reflects the thessalisation of Hom. Ion. Att. ei{neka, which goes back to the Homeric metrical lenghtening of PGr *eneka (: Myc. e-ne-ka /(h)eneka/): a new etymology of the form is proposed in support of this view. The same explanation applies for the theonym Ennodia (as against neut. pl. enodia ‘paths’ in the same inscription), which reflects Eijnodivh/a (Hsd.+), Hom. eijnovdio~. For its part, the place name Govnnoi (Govnno~) reflects Hom. Gouneuv~, gounov~ ‘hill’, which show the phonetic outcome of *ĝon-ó-. The irregular spellings <enn>, <onn> turn out to reflect an artificial thessalisation of Ion.Hom. <ein>, <oun>, whatever their origin could be, at a time when Thessalians write stubbornly in dialect, as a manifestation of their identity.
 
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Allitérations et assonances associées à l'emploi des impressifs de sonorité dans la langue homérique
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This paper aims to show the conditions under which alliterations and assonances appear in the Homeric epos. One has intentionally restricted the corpus to the close context of impressive verbs denoting a noise, in order to determine by what the presence of such sound effects could have been conditionned : contrary to the expectations, the associations of such verbs and such sound effects are absolutely not systematic, but they are concentrating only when the dramatic tension in the narration reaches a peak, as if the drama of the situation had to be heightened by the accumulation of expressive devices involving the signifier. Along the same lines it has been observed that the expressive hapax crovmado" appears to be brought about by an alliterative context.
 
9,50 €
La paréchèse et les jeux sur les mots chez Homère
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In a number of cases Homer’s epics provide us with single forms which—though metrical and unequivocally transmitted—are morphologically aberrant or altogether ungrammatical. Textual criticism has frequently attributed such forms to a faulty transmission, and consequently has tried to emend them out of existence.
There are, however, other mechanisms for generating, and other ways to explain, deviant or aberrant forms. Thus there are many instances of word games in Homer, in which the poet chooses to reshape forms so as to yield pairings of rhyming words.
The present article treats six such instances of aberrant forms: έδήδοται Od. 22.56; έληλέδατʹ(ο) Od. 7.86; εστασαν Il. 12.56, Od. 3.182; λέκτο Od. 4.451; ωνατο Il. 17.25; προθέουσιν Il. 1.291. All of these have been subject to emendation (from antiquity to modern times) but can now be vindicated as authentic Homeric forms once they are recognized as constituents of artful word games.
 
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Ambiguïté, dit et non-dit dans la langue poétique latine. L’exemple de ferri dans l’Énéide II et III de Virgile
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Every language presents ambiguous structures. This article investigates several meanings of the passive, especially of fero “to bear”, which, for the passive, can mean either “to be borne” or “to go to...”.
In the II and III books of the Eneid the ambiguous verbs show that Aeneas does not clearly understand the meaning of the misfortune of Troia.
 
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La reprise décalée, un procédé de renouvellement formulaire dans la poésie lyrique et épique grecque. Sur les composés gr. πολυδηνης / skr. púrudaṃsas-, gr. *μελιFεπης / skr. mádhuvacas-
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The stylistic figure which consists in replacing one element of a traditional syntagm or compound by an equivalent and taking over the cancelled element in another place with a different syntactic function was frequently used in epic and lyric Greek poetry and appears to be a traditional mean of formulaic renewing. According to this principle, one can identify old traditional formulae or compounds ‘hidden’ in the Homeric text (such as poludhvnh", which is known only through Hesychius, but has a perfect match in Sanskrit). This poetic device also enables us to reconstruct an inherited compound *meliÛephv" ‘with honey words’, corresponding to ved. mádhuvacas-, never attested in Greek poetry because of its metrical shape, but which was clearly known to Homer and Hesiod.
 
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À propos de quelques répétitions non formulaires dans l’Iliade
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We have already published several articles on Homeric formulas. But what we will analyze here are some repetitions of another nature, whether non formulaic or formulaic (which can then come from a very archaic state of the Epic text, possibily Mycenaean or Indo-European). The comparison between a warrior in tears and a mountain waterfall (Books 9 and 16), the theme of Achilles’ spear, the words used to describe Patroklos’ and Hector’s deaths, and the metaphor of the iron-heart applied to Achilles by Hector and to Priam by Achilles might support the hypothesis of a great-scale composition of the Iliad with a particular place given to the Patrocleia (Book 16).
 
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Séquences dactyliques dans la prose d’Hérodote. Hexamètres, homérismes, formules
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This paper focuses on some of the numerous dactylic sequences which occur in Herodotus’ prose, styled as homêrikôtatos by Ps.-Longinus; this study will conform to the appraisal given on Herodotus’ language by the rhetor Hermogenes. First, a selection of dactylic sequences will be questioned as to their stylistic and thematic motivation; and we shall identify some likely hexameters. We shall then proceed to examine Herodotus’ use of homeric literal phrases or phrases of homeric inspiration. Finally, we wil try to identify dactylic recurrent sequences which may be considered as formulae, in order for the present contribution to shed light on Herodotus’ homerism.
 
9,50 €
L’usage de la poésie dans le De Legibus
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This article fits in a research about the way Cicero reads Plato, especially in his political work. In the De Legibus, Cicero, like Plato in his Laws, uses legislative preambles, which have connections with poetical processes. But, while, in Plato, these preambles come within the idea that poetry plays a part in persuasion, as well as in education, in Cicero, the preamble’s notion is to be distinguished from the Platonician example. Cicero does not have the same vision neither of poetry nor of the preamble. According to him, their aim is neither to persuade nor to educate. Instead, he tries to restore the old process of carmen, a religious preamble to Roman law. In this way, Cicero restores the legislative process, by giving it a new dimension. He also places the poetic language within the legislative process, and therefore within the Roman political space, without making it lose its other dimensions.
 
9,50 €
Latin pollinctor, grec λιπ(α), picénien VEPSES. Phraséologie et élaboration poétique
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The aim of the present contribution is to explore the function and meaning of pollinctor “undertaker’s assistant”. It is argued that the infectum of the corresponding verb pollingere is probably a ghost word. The paper then offers an interpretation of the South Picene stele of Bellante (from the sixth or fifth century) in connection with the poetic structure of the text. The hypothesis that the South Picene form vepses is etymologically related to pollinctor is supported by phraseological correlations within the South Picene inscriptions.
 
9,50 €
L’anastrophe verbale en grec archaïque. Entre syntaxe et poétique
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Among the most salient features of the Homeric poetic language, separability of preverbs (so-called “tmesis”) and reversibility of prepositions (so-called “anastrophe”) are particularly well documented. The aim of this paper is to investigate a third, less known type, which may be formally described either as “reverse tmesis” or as “verbal anastrophe”, e.g. fugw;n u{po nhlee;~ h\mar “escaping from the merciless day” (F 57). From an accentual point of view, such constructions with [verb + postverb] are regularly parallel to nominal anastrophe [noun + postposition], but both from a syntactical and from a semantical point of view the nature of the postposed verbal particule is ambiguous : it might be seen either as a real postverb, mirrored by a preverbal counterpart, or as an independent adverb, freely added to the verbal form. It can be shown that originally the adverbial analysis is probably the right one, but the type has been reanalized as verbal anastrophe and used consequently as a poetical device inside the Homeric tradition.
 
9,50 €
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