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- Volume 44, Issue, 2009
Revue Romane. Langue et littérature - Volume 44, Issue 1, 2009
Volume 44, Issue 1, 2009
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L’accord du participe passé dans les langues romanes: Entre pragmatique et syntaxe
Author(s): Christel Le Bellecpp.: 1–24 (24)More LessThis study aims at describing past participle agreement rules in the Romance languages. These are mainly considered as being an arbitrary set of rules; however, this study is based on the hypothesis that this kind of agreement has primarily a pragmatic function. Indeed, based on the hypothesis that past participle agreement is an example of verb-argument agreement, such as the subject-verb one, we will demonstrate that this agreement is triggered by a subject or a direct object with topic function. The pragmatic factor will be then integrated with those traditionally recognised in the literature, namely nuclear syntactic functions and the auxiliary selected. Finally, we will show why such a variation exists in the Romance languages.
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La construcción infinitiva tras verbos de percepción visual y auditiva: Un análisis comparativo entre el portugués y el español
Author(s): Renata Enghels and Clara Vanderschuerenpp.: 25–46 (22)More LessIn Spanish and Portuguese the direct perception of an event is expressed by infinitival constructions such as Vi a los niños correr and Vi os meninos correr(em) (“I saw the children run”). This article focuses on the factors that determine the syntactic markings of the perceived participant NP2 as the direct object of the perception verb or the subject of the subordinated infinitival complement. Based on a large corpus it is shown that although both languages prefer different basic word orders and case markings, a common cognitive-semantic parameter explains some striking analogies, namely the perception modality of the main verb. Moreover, the Portuguese infinitive optionally agrees with NP2, therefore syntactically becoming more subject-like. However, statistical data reveal beyond all expectations that inflection is not determined by the above-mentioned cognitive factor but by the degree of syntactic autonomy of the subordinated complement.
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Los nombres de color del español: De su composición y sus propiedades gramaticales
Author(s): Mario García-Pagepp.: 47–66 (20)More LessColour terms in Spanish are a heterogeneous and large set in origin and morphology: there are basic colour terms, which can function as adjectives or nouns (verde, blanco, azul, rojo…) and secondary colour terms with a binary structure N1(+basic colour)-N2(object/proper name) (verde esmeralda, blanco hueso, azul cielo, rojo Corintio…), as well as referential terms, which refer primarily to a physical object in which colour is a prominent feature (naranja, granate, lila, carmín…). Finally, there is a set of colour terms which can only function as adjectives by means of adjectival suffixation (verdoso, blancuzco, azulino, rojizo…). Such diversity brings about variable behaviour in identification tests (such as Este color es el + N – This colour is + N) as well as in grammatical tests (derivation, quantification, etc.).
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Potentialités de l’harmonie imitative: Un poème de Bosco
Author(s): Michel Arouimipp.: 67–82 (16)More LessBosco’s literary theory, dispersed throughout numerous self-critical admissions, reveals a concern for textual format, justified by Bosco as being the means of his spiritual quest, shared with the reader. A very short poem by Bosco, matured at length, shows great care in the poetic form, a form in which all aspects serve to translate in the text itself the object of the description: Bosco’s beloved mountain, turned into a poem. The study of its imitabal harmony, covering every level of the text, would be in vain if one were to neglect the spiritual aspirations of the poet, his attention to the secret of the Being, incarnated by the mountain. But we must hesitate in designating the nature of this secret: the truth of a mystical order; or, on the contrary, that of the violence lodged deep in every man, a violence which the mountain might resemble?
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Cioran et le gouffre temporel
Author(s): R.-L. Etienne Barnettpp.: 83–93 (11)More LessRETRACTION NOTICE. This article has been retracted. For more information, please read the Editorial in Revue Romane 50:1 (2015).
In the Cioranian universe, language and time, both inextricably bound, both chillingly perverse, constitute icons of what is, contextually, an inexorable vision of the human condition. The pairing progenerates specters, phantasms of the void, pernicious and vacuous. It is at the perilous, indeed, the perfidious nexus of enunciation and endlessness — each dreaded, yet each ineluctable — that the dyad adopts an onerous cast. To the extent that discourse configures a cipher of perpetuity, and in that, conversely, any trace of eternity conjures a ceaseless extension of the word, of that very word which begets and embodies postmodern aporia, there lurks in consequence of discourse emitted a palpable trepidation, a confrontation with the ultimate precipice, the unconscionable, inscrutable continuity of nothingness. The deconstructive imperative overtakes the text, from which there is neither scriptural nor metaphysical exit. A curious dynamic, a tangled skein of haunting refrain.
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Amazonas del mar y sátiros acuáticos: Góngora y literatura mitológica
Author(s): Sofie Klugepp.: 94–111 (18)More LessThe work of Luis de Góngora (1561–1627) arguably represents the peak of early Baroque poetic mythography, but even if myth is a recurring element in Gongorine poetry its appearance varies greatly. From the youthful poetry to the major works of the first decades of the 17th century and beyond we find important nuances and a recurring revaluation and redefinition of myth. Thus, starting off by the both moral and sensual interpretation characteristic of Renaissance literature in the early sonnets, passing through Ovidian aetiology in the Fábula de Polifemo y Galatea and the philosophical meditation on myth in the Soledades, the poet reaches the satirical-burlesque with a moral flavour in the Fábula de Píramo y Tisbe. However, underlying all these different phases we find a persistent ambiguity rooted in the ambiguous post-classical reception of Greco-Roman mythology. On the background of a brief survey of the ambiguous concept of classical mythology permeating Góngora’s work from beginning to end, the present article particularly explores the meditative phase of the Soledades, arguing its importance for our understanding of the Baroque period as well as for the origin of what may be termed the tradition of ’mythological literature’.
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Una voluntad de la nada: Naturaleza y estética del demonio en José Bergamín
Author(s): Ricardo Piñero Moralpp.: 112–126 (15)More LessThe aim of the present work is dual: on one hand, it is necessary to make a rigorous analysis of certain aspects of José Bergamín’s intellectual biography; on the other, it is the intention to posit a reflection about one of his most relevant works, La importancia del demonio.
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Pour en finir avec la prétendue synonymie de pareil et identique
Author(s): Céline Corteelpp.: 127–150 (24)More LessThe goal of this paper is to tease apart the semantic differences between pareil and identique. After a brief discussion of the syntactic and semantic properties shared by the two adjectives, attention is given to data illustrating their specificity. It is shown that identique is similar to symmetric relational adjectives. In an objective way, identique emphasizes a strong resemblance between distinct entities which usually have the same referential status. By contrast, pareil often serves to point out an asymmetric relationship between two referents, of which one tends to be more virtual than the other. The adjective often expresses a subjective judgment, allowing the speaker to focus (possibly by means of a type) on certain salient properties of a referent.
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New thoughts on an old puzzle
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