Breathy phonation refers to the laryngeal setting where the vocal folds are less tense and make less contact than in “modal” phonation, which consequently leads to continuous leaking of voiceless... Show moreBreathy phonation refers to the laryngeal setting where the vocal folds are less tense and make less contact than in “modal” phonation, which consequently leads to continuous leaking of voiceless airflow, giving rise to the perception of breathiness in a speech sound. In Austronesian languages, contrastive breathy segments are very rare. For the Austronesian languages of Island Southeast Asia, only one language has been reported to have phonemically breathy vowels: Kedang, a language spoken on Lembata island, in eastern Indonesia. In this paper, we revisit the earlier analysis that in Kedang, breathiness distinguishes phonemic “breathy” from “modal” vowels. Presenting evidence of distributional, acoustic, and etymological nature, we argue that the so-called breathy onsetless vowels do not appear to be similar to breathy vowels described in the literature. Their “breathy” nature may have a historical source in initial glottal consonants that were lost, but is currently used as a phonetic strategy that is intended to enhance the perceptual contrast between syllables with a phonemic glottal onset versus onsetless syllables. We also suggest that the glottal stop in Kedang is phonemic in all positions and indicatea possible historical trajectory for its development. Show less
In this paper I will distinguish three alternative approaches by means of which Conrad Celtis connects the German Renaissance to the Italian Renaissance. They can be summarised as relocation,... Show moreIn this paper I will distinguish three alternative approaches by means of which Conrad Celtis connects the German Renaissance to the Italian Renaissance. They can be summarised as relocation, contestation, and imitation. I call these three alternative approaches “visions of Rome” because each adaptation can be understood as an alternative claim to the ancient Roman legacy. Moreover, I will argue that each of the three can be understood as an attempt not just to reflect or represent a migration of the Renaissance north, but actually to legitimise this movement. To understand how this works, the article does not merely consider the literary, cultural and political manifestations of the Italian Renaissance movement to see how they are appropriated by Celtis in isolated cases; it focuses on the starting point of this enterprise on a more fundamental level. The Italian Renaissance humanists aimed to restore the greatness of ancient Rome, and they legitimised their enterprise by claiming entitlement to that illustrious past on the basis of continuity of place and the ancient scheme of renovatio. By contrast, Celtis argued variously both that the greatness of ancient Rome – via the translatio imperii and translatio studii – actually belonged in Germany, and that Germany revived her own ancient greatness with the same Italian methods. In addition, to make room for this alternative Renaissance, Celtis countered the claims of Rome to her own past, either by disseminating negative stereotypes of Rome and Italy or by suggesting that Rome’s role was now played out. Show less
Nous nous proposons de présenter un double point de vue sur le roman de Gisèle Pineau, Fleur de Barbarie (2005), en nous attachant aux stratégies romanesques et communicationnelles mises en place... Show moreNous nous proposons de présenter un double point de vue sur le roman de Gisèle Pineau, Fleur de Barbarie (2005), en nous attachant aux stratégies romanesques et communicationnelles mises en place par l’auteure, telles que la polyphonie, le texte palimpseste et la médiation culturelle. Il s’agira de dégager la perspective sur les Antilles qui est celle de Josette, héroïne et narratrice franco-guadeloupéenne que les lecteurs suivent dans son parcours de l’enfance à l’âge adulte, au fil de ses allers-retours entre la métropole et les Antilles. L’originalité de ce roman d’apprentissage à la vie et à l’écriture ne tient pas seulement à la perspective féminine donnée au topos du retour au pays natal, mais aussi et surtout à la mise à contribution de la figure de Joséphine Baker qui accompagne la narratrice dans ses déplacements, dans sa construction identitaire et dans son interprétation des espaces franco-caribéens. Image tierce dans les relations Métropole-Antilles et figure aux maintes facettes, Baker semble représenter chez Pineau un modèle de femme qui règle ses comptes avec les stéréotypes de femmes antillaises, mais qui n’en est pas moins un modèle ambivalent, voire contradictoire. C’est la mobilité des signifiants auxquels le signe “Baker” renvoie qui, ouvrant la porte à des pratiques interculturelles inédites de l’héroïne du roman de Gisèle Pineau, peut apporter de nouvelles perspectives aux études sur la Caraïbe. C’est que, dans Fleur de Barbarie, plus que simple modèle, l’artiste semble remplir un rôle de médiatrice dans la quête identitaire de Josette Titus, héroïne et narratrice franco-guadeloupéenne du roman. Baker se trouverait au centre du processus créateur de l’héroïne, l’accompagnant dans la construction d’une identité relationnelle, dans ses rapports à elle-même, à ses nombreuses “mères” et à la société dans laquelle elle vit. Cet article se propose d’évaluer la portée de Baker dans Fleur de Barbarie à partir des études en médiation interculturelle. Show less
