Gesprochenes Französisch

Barme, Stefan

doi:10.1515/9783110279832

Cited by 5 publications

(4 citation statements)

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“…Allied as it was with re-establishing the monarchy, the National Council on Culture was elevated to Ministry of Culture in 1952-58. 28 There may have been a post-People's Party volkisch self-indulgence about art during Phibun's second reign, which became prominent under the next military dictator, Field Marshal Sarit Thanarat (in power 1958-62) (Figures 6, 7). Here, 'ethnic' and 'folk' tendencies came to cover 29 the construction of a 'tradition' which supports an anti-communist drive, or at the very least exists in the gap opened up by anti-communism as an elite and state motivation for cultural expression including art.…”

Section: Concepts Of Tradition and Artmentioning

confidence: 99%

‘Tradition’ in Thai Modern Art

Clark¹

2020

Southeast of Now

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How is 'tradition' mapped when art historically deployed in Thailand? Does it correspond to an antithesis with 'the modern', or are an historically dependent pair which proceeds to develop or regress in tandem? The slipperiness of 'tradition' is due to its appropriation by the official Royal / state / Silpakorn discourse of art with its supporting educational and exhibition structures, rather than 'tradition' also claiming legitimacy from outside the official discourses. The 'ethnic', 'folk' or 'anti-establishment' positions are found in artists and work which see themselves as 'genuine' and working against the 'false'. 'Tradition' is defined by political and art historical contexts which have been highly selective in their choice of past examples worth nominating, as in their acceptance of motivated exclusions. Much art work did not make it to exhibition let alone into art history because it did not suit official notions of 'tradition' and its antitheses conceived of as 'modern'. Since 'contemporary' art has frequently been the field for competing norms about the 'real', or about what is 'ours', re-excavation of occluded artists and works becomes one way of rethinking the 'contemporary', and changing the datum set of works and artists by which the 'contemporary' is to be established. Finally, the notion of 'ours' or 'the national' has to be bracketed off because it is a construct of a motivated interest: it is not natural. It functions to disturb other 'non-national' art practices and art historical treatments.

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Section: Concepts Of Tradition and Artmentioning

confidence: 99%

‘Tradition’ in Thai Modern Art

Clark¹

2020

Southeast of Now

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“…So far, no (extensive) empirical evidence has been provided which independently corroborates the claim presently discussed. Yet, on the basis of a search of a part of a modern synchronic data corpus of spoken French (CREDIF ( Centre de Recherche et d'Etude pour la Diffusion du Français )), Barme (2012) refutes the claim under discussion. He does so by providing what he considers instances of embedded finite constructions with y avoir ‘to exist’ and falloir ‘to have to’ in which IL is non-expressed.…”

Section: Syntactic Restrictions On the Non-expression Of Il In Icsmentioning

confidence: 99%

“…(8a‒b)). The total amount of unequivocal counterevidence provided by Barme (2012: 71) is thus eventually reduced to one single embedded finite construction with non-expressed IL , namely the one given in (8c). …”

Section: Syntactic Restrictions On the Non-expression Of Il In Icsmentioning

confidence: 99%

On expletive subject pronoun drop in Colloquial French

Zimmermann¹,

Kaiser²

2013

French Language Studies

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This paper sets out to contribute to the debate on the morpho-syntactic status of phonologically weak or clitic subject pronouns in Colloquial French by discussing finite impersonal constructions in which the expletive subject pronoun is non-expressed. The paper provides arguments against an approach in terms of inflectional affixes, showing that the non-expression of this pronoun is in fact syntactically restricted. On the basis of the further finding that the non-expression of the expletive represents the continuation of a grammatical trait of older stages of the language in which the non-expression of subject pronouns was generally possible, a tentative proposal is put forward which crucially draws on information structure.

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“…An example of using the epigraphic record to establish the characteristics of a local, and in this case, late variant of Latin, is represented by a study of the dialect of Belgica Prima on the basis on the palaeochristian epitaphs of Trier. 586 The background to the early development of Latin, which is fundamentally derived from the epigraphic traces of the other Italic and non-Italic languages, has been the subject of a number of signicant contributions. Coinciding with the appearance of the latest update to E. Vetter's Handbuch der italischen Dialekten (1953), A. L. Prosdocimi has issued an updated version of his thoughts on the development of Latin and the Italic languages within the Indo-European family.…”

Section: VII Languagementioning

confidence: 99%

Roman Inscriptions 2006–2010

Cooley¹,

Salway²

2012

J. Rom. Stud.

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The aim of this quinquennial survey remains the same as its predecessor, as for the most part does the format, though the team is regrettably reduced by one. With an eye to the study of the Roman world, we hope to signal the most important newly published inscriptions, significant reinterpretations of previously published material, new trends in scholarship, recent studies that draw heavily on epigraphic sources, and noteworthy developments in the various aids to understanding inscriptions (both traditional printed material and electronic resources). In the context of this journal, the geographical range and chronological scope reflect the contours and history of the Roman state from its beginnings down to the end of the seventh century. As such, not only does the survey naturally take in Greek as well as Latin texts, but also epigraphic material in other languages relevant to the Roman world. In the hope that they might usefully reflect the various fields of primary interest to readers of this journal, we have maintained the categories established in the last survey. These comprise, after material of general interest and significance, principal divisions under the headings of (II) Government, law, and authority, (III) Cities, (IV) Funerary epigraphy, (V) Religions, and (VI) Language, literature, and onomastics. The structure of the first section has been changed somewhat in order to give greater prominence to those inscriptions here singled out as historical highlights. The organization of the discussion within each section (or subsection) generally moves between the thematic, chronological, and geographical, as seems to suit the material best.

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Gesprochenes Französisch

Cited by 5 publications

References 0 publications

‘Tradition’ in Thai Modern Art

‘Tradition’ in Thai Modern Art

On expletive subject pronoun drop in Colloquial French

Roman Inscriptions 2006–2010

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