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In this paper, we aim to account for the distribution and interpretation of a novel class of free choice items in Romanian, which we refer to as additive free choice items (ADD-FCIs). We show that the internal composition of ADD-FCIs, as well as their distribution, differs from that attested for other free choice paradigms discussed in the literature. Morphologically, ADD-FCIs are a more complex variant of regular universal FCIs, by virtue of an additional morpheme. This morpheme plays an additive role when it functions as a stand-alone particle, and we propose that its role is similarly additive when it functions as an infix in ADD-FCIs. Couched in an exhaustification framework, we put forward a novel compositional account that can derive the interpretation of these ADD-FCIs. As for their distribution, these elements are only found in the presence of the conditional mood, as well as unconditional structures. We show how our analysis, coupled with the Viability Constraint used to explain the distribution of regular FCIs, can also account for their restricted distribution. In doing so, we further show how the pattern we investigate opens new perspectives regarding the licensing of free choice items in unconditionals.

This article seeks to determine the acoustic correlates of gemination in Standard Somali (Afroasiatic, Cushitic), in particular whether closure duration is the primary acoustic correlate distinguishing singleton and geminate stops, with immediate consequences for the analysis of word-initial strengthening. We provide an acoustic analysis of word-initial and word-internal voiced singletons as well as of their geminate counterparts on the basis of a production experiment conducted with four native speakers. Three temporal and four non-temporal acoustic properties of /b d ɡ/ and /bb dd ɡɡ/ are examined and systematically compared (closure duration, release burst duration, vowel duration; and closure amplitude, release amplitude, presence of a release burst, (de)voicing). We argue that the opposition between singleton and geminate voiced stops is primarily realized as the manner contrast approximant [β̞ ð̞ ɣ̞] vs. stop [b d ɡ]. Word-initially, Somali exhibits various peculiarities that are reminiscent of the cross-linguistically attested phenomenon of domain-initial strengthening. This article provides the first study of this phenomenon in Somali. We establish that word-initial /b d ɡ/ and word-medial /bb dd ɡɡ/ share the same closure duration, release burst duration, and vowel duration within the Prosodic Word. They also have a similar closure amplitude, and voicing properties. Moreover, the acoustic properties of word-initial /b d ɡ/ remain constant, and do not depend on their position in the prosodic hierarchy. On the basis of these results, the article also aims at providing new insights in the phonological representation of Somali geminates and word boundaries, and thus contributes to the understanding of word-initial strengthening in Somali.

Reading verses written by Rimbaud around 1870 at the beginning of the 21st century, amounts to reconstituting in one's head meaning and rhythm with cultural "software" of the beginning of the 21st century. Examination of the rhythm of some verses in this perspective.; Lire des vers écrits par Rimbaud vers 1870 au début du 21e siècle, c'est reconstituer dans sa tête du sens et du rythme avec des "logiciels" culturels du début du 21e siècle. Examen du rythme de quelques vers dans cette problématique.

In the fables of La Fontaine (17th century), the excesses of rhyme, particularly in the verses in which the two hemistiches rhyme with each other, generally considered as faults when they are noticed, are rather effects of art.; Dans les fables de La Fontaine (17e siècle), les excès de rime, particulièrement dans les vers dont les deux hémistiches riment entre eux, généralement considérés comme des fautes quand ils sont aperçus, sont plutôt des effets de l'art.

The manuscript of "Les Poètes de sept ans", dating from a dozen days after the end of the "Commune de Paris" (may 1871), presents with its epistolary context relationships that can enlighten or confirm its meaning, especially with regard to the relationship between the seven-year-old "poet", the sixteen-year-old author-poet, and his relationship to the traumatic experience of the recently crushed revolution of the Paris Commune.; Le manuscrit des "Poètes de sept ans", datant d'une douzaine de jours après la fin de la Commune de Paris présente avec son contexte épistolaire des rapports qui peuvent en éclairer ou confirmer la signification, notamment à l'égard des rapports entre le "poète" de sept ans, l'auteur poète de seize ans, et son rapport à l'expérience traumatique de la révolution récemment écrasée de la Commune de Paris.

Dans cet article, je montre qu’il existe en francais (comme en anglais par exemple) deux types de constructions reflechies : certaines mono-argumentales, d’autres bi-argumentales. Le choix d’une analyse mono- ou bi-argumentale est polyfactoriel et les proprietes lexico-semantiques d’un verbe font partie des facteurs en jeu : les verbes psychologiques a sujet experienceur projettent une structure a deux arguments, les verbes agentifs, par contraste, projettent une structure reflechie intransitive. En outre, je montre que dans la configuration bi-argumentale, le sujet NP est engendre en position externe et qu’il lie une anaphore en position interne. Ces resultats ont ete obtenus au terme d’une etude basee sur un nombre important de locuteurs et sur une analyse statistique fine. Cela confirme la valeur de la methode des jugements de grammaticalite, mais a la condition qu’un echantillon suffisamment large de locuteurs soit consulte.

International audience; In France, allophone pupils face a difficult situation within the French school system with respect to the acquisition of French as a second language (FSL). How to have FSL acquired by these young migrant learners – both oral and writing skills – within a short timeframe, when some of them have not received previous schooling in their country of origin? The Neurolinguistic Approach (NLA) is a way to teach French as a second or foreign language, developed by Germain and Netten in 1997 (Germain, 2017). It seemed pertinent to evaluate whether the NLA could facilitate the acquisition of language competencies while providing the pupils with an affectively safe environment. The main purpose of this article is to present the qualitative results of the first year of the project, which has been piloted since 2019 and during which the NLA has been applied in three introductory classes for allophone pupils.; En France, les élèves allophones vivent une situation difficile au sein du système scolaire français en ce qui concerne l'acquisition du Français langue seconde (FLS). Comment faire acquérir le FLS à ces jeunes apprenants migrants, parfois non scolarisés antérieurement dans leur pays d'origine, à l'oral et à l'écrit dans des modalités temporelles très courtes ? L'Approche neurolinguistique (ANL) est une méthode d'apprentissage du français langue étrangère ou seconde, créée et conçue par Germain et Netten en 1997 (Germain 2017). Il nous a semblé pertinent d'évaluer si l'ANL pouvait permettre, notamment pour les débutants, de faciliter l'acquisition de compétences langagières et de les sécuriser sur le plan affectivo-émotionnel. Le principal objectif de cet article est de présenter les résultats qualitatifs issus de la première année d'expérimentation que nous menons depuis 2019 dans trois dispositifs d'accueil utilisant l'ANL auprès de ces jeunes allophones.

Study of various aspects of the metrics of the Verlaine's "Fêtes galantes" (1869): Conformity to the Language of Verse and to the Graphic Fiction, repertoire of meters, global poem forms and strophic forms, masculine or feminine cadences, repetitions.; Métrique de Verlaine dans les Fêtes galantes Résumé.-Étude de divers aspects de la métrique des Fêtes galantes : Conformité à la Langue des vers et à la Fiction graphique, répertoire des mètres, formes globales de poème et formes strophiques, cadences masculines ou féminines, répétitions.

Study of various aspects of the metrics of Verlaine's Fêtes galantes (1869): Conformity to the Language of Verse and Graphic Fiction, repertoire of meters, overall poem forms and strophic forms, masculine or feminine cadences, repetitions.; Étude de divers aspects de la métrique de Verlaine dans les Fêtes galantes (1869) : Conformité à la Langue des vers et à la Fiction graphique, répertoire des mètres, formes globales de poème et formes strophiques, cadences masculines ou féminines, répétitions.

Methodical argumentation, mainly in favor of the idea that, in the mind of a metrical reader as well as of the author (but not in that of the spectator-listeners), any alexandrine of this piece is plausibly rhythmable in 6 6 (periodic form) or otherwise, sporadically, in 4 4 4 or 3 5 4 (each ending in 4), each of the sub-rhythms (3, 4, 6, 6 or 8v) being associated with a sequence of words by its morphological tonic; in only two of the verses not admitting an 8th cut, both appearing in the same famous tirade called “du nez”, the rhythm 6 6 is crossed by a word whose pretonic vowel morpheme is 6th of the verse (including " Appelle hippocampelephantocamélos "). In only three of the verses where the 8th cut seems to be excluded (example: " Tenez, à la première du Cid, j'étais là "), a 7th feminine vowel imposes a continuous rhythmic treatment in 6 6, the second sub-verse including only 5 metrical vowels (case of rhythmical recovery); in these three verses, a brief prepositional phrase is focused in rejet after the caesura (example: " du Cid "). (This corrects or clarifies the proposed analysis of the lines of this piece as regards the feminine 7th vowel in my Problèmes de métrique française [1979 (!), p. 338]). A few stylistic comments accompany the argumentation.– A commented list of verses with a word pretonic or posttonic vowel 6 follows.; Argumentation méthodique, principalement en faveur de l'idée que, dans la tête d'un lecteur métrique comme de l'auteur (mais non dans celle des spectateurs-auditeurs), tout alexandrin de cette pièce est plausiblement rythmable en 6-6 (forme périodique) ou sinon, sporadiquement, en 4-4-4 ou 3-5-4 (à coupe 8 e), chacun des sous-rythmes (3, 4, 6, 6 ou 8v) étant associé à une suite de mots par sa tonique ; dans seulement deux parmi les vers n'admettant pas un 4v final (« coupe 8 e »), figurant tous deux dans la même tirade dite du nez, le rythme 6-6 est barré par un mot dont une voyelle prétonique de morphème est 6 e du vers (dont « Appelle hippocampelephantocamélos »). Dans trois seulement des vers où la coupe 8 e semble exclue (exemple : « Tenez, à la première du Cid, j'étais là »), une voyelle féminine 7 e impose un traitement rythmique continu en 6-6, le second sous-vers n'incluant que 5 voyelles métriques (cas de récupération rythmique) ; dans ces trois vers, un bref syntagme prépositionnel est focalisé en rejet après la césure (exemple : « du Cid »). (Ceci corrige ou précise l'analyse proposée des vers de cette pièce à féminine 7 e dans mes Problèmes de métrique française [1979 (!), p. 338]). L'argumentation est accompagnée de quelque commentaires stylistiques et d'une discussion de quelques possibles cas de rythme bivalent 4-4-4 (ou 8-4) et 6-6.-Suit une liste commentée de vers à 6 e ou 7 e voyelle féminine (post-tonique).

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In the mind of a metrical reader as well as the author, any alexandrine in this piece was plausibly rhythmically 6-6 (periodic form) or else, sporadically, 4-4-4 or 3-5-4 (with an 8th caesura); in only two of the lines not admitting an 8th caesura, the 6-6 rhythm is crossed out by a word whose pretonic morpheme vowel is 6th in the line. In three lines where the 8th cut seems to be excluded, a 7th feminine vowel imposes a continuous rhythmic treatment in 6-6 (caesura with rhythmic recovery). Commented list of verses with a word pretonic or posttonic vowel 6; Version revue (2021) d'une étude parue dans Edmond Rostand, poète de théâtre, dirigé par Hélène Laplace-Claverie, Olivier Goetz, Bertrand Degott (dir.), juin 2020, Presses U. de Franche-Comté. – Argumentation méthodique en faveur de l'idée que, dans la tête d'un lecteur métrique comme de l'auteur, tout alexandrin de cette pièce était plausiblement rythmable en 6-6 (forme périodique) ou sinon, sporadiquement, en 4-4-4 ou 3-5-4 (à coupe 8 e) ; dans seulement deux parmi les vers n'admettant pas une coupe 8 e , le rythme 6-6 est barré par un mot dont une voyelle prétonique de morphème est 6e du vers. Dans trois vers où la coupe 8e semble exclue, une voyelle féminine 7e impose un traitement rythmique continu en 6-6 (césure à récupération rythmique). Liste commentée des vers à voyelle 6 prétonique de mot ou posttonique.

In the 17th century French verse, the rhetorically forced inscription of an occasional 4-4-4 rhythm in the periodic 6-6 rhythm marks a dramatic conflict.; Au 17e siècle français, l’inscription rhétoriquement forcée d’un rythme occasionnel 4-4-4 dans le rythme périodique 6-6 scande un conflit dramatique.

The famous stanzas of Rodrigue in the play "Le Cid" by Corneille (1637) have a curious rhyming organization. This can probably be explained by an attempt to transpose, by adapting it, the model of Rodrigo's stanzas in the Spanish play "Las Mocedades del Cid" by Guillén de Castro. In this perspective, the French Cid's stanza can be analyzed as a pair of quatrains, with an intermediate distich.; Les célèbres stances de Rodrigue dans la pièce "Le Cid" de Corneille (1637) ont une organisation rimique curieuse. Celle-ci s'explique sans doute par une tentative de transposer, en l'adaptant, le modèle des stances de Rodrigo dans la pièce espagnole "Las Mocedades del Cid" de Guillén de Castro. Dans cette perspective, le dizain du Cid français peut s'analyser comme une paire de quatrains, avec un distique intermédiaire.

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This squib reports experimental findings from a study investigating the interpretation of simple disjunction in negative contexts in four languages: Italian, French, English, Romanian. We provide evidence that casts doubt on the robustness of the distinction between PPI disjunction languages and non-PPI disjunction languages. The difference turns out to be less clear-cut than assumed in the theoretical (e.g., Szabolcsi 2002, Spector 2014, Nicolae 2017) or experimental literature (e.g., Crain 2012, Guasti et al. 2017). The results reported here inform current accounts of positive polarity and flesh out some methodological issues raised by the various tasks used in experimental investigations of the polarity sensitivity of disjunction.

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International audience; It is well established that the speech flow is segmented into prosodic phrases (let’s call them ProsoP), which are crucial for interpreting the speech stream. Since the eighties, several proposals have been formulated, mostly within Prosodic Structure Theory, to account for the way ProsoP phrases are derived and organized. Among the proposals, there are however discrepancies regarding the criteria used to derive prosodic units above the word level (phonetic and phonological criteria vs. syntax-phonology mapping rules). This raises questions on the exact nature and status of these phrases, especially in French where there is a strong syncretism between accentuation, rhythm and intonation. Among ProsoP phrases above word level, it is nevertheless important to make a clear distinction between the intonational phrase (IP) and other prosodic phrases such as minor and major phonological phrases (PhP). The aim of this paper will thus be twofold: (i) showing in which way the intonational phrase differs from other prosodic phrases above the word level in French; and (ii) arguing for a model in which the effective phonetic realization of a prosodic phrase boundary partly derives from the occurrence of other boundaries within the utterance. This study is based on an analysis of various Frenchcorpora.

A study of a few French alexandrine lines of the 17th century, in each of which the triple repetition of a formula of the type A-x, with a 2-2-vowel rhythm, where A is a fixed word and x is a sequence of one or two variable words, imposes in counterpoint to the periodic 6-6 meter an occasional 4-4-4 rhythm. This combination seems to be associated in each case with a dramatic conflict. Some reasons allowing to suspect that some of these lines might have been influenced by at least one of the preceding examples are considered. The relevant authors are: d'Aubigné, Scarron, Pierre Corneille and La Fontaine.; Examen de quelques alexandrins du 17e siècle dans lesquels la triple répétition d'une formule de type A-x, de rythme 2-2, où A est un mot constant et x une suite d'un ou deux mots variables, impose en contrepoint au mètre périodique 6-6 un rythme occasionnel 4-4-4. Cette combinaison semble associée en chaque cas à un conflit dramatique. Examen de raisons permettant de supposer que certains de ces vers pourraient avoir été inspirés par au moins un des précédents. Sont impliqués comme auteurs: d'Aubigné, Scarron, Pierre Corneille et La Fontaine.

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Previous work has shown how native listeners benefit from observing iconic gestures during speech comprehension tasks of both degraded and non-degraded speech. By contrast, effects of the use of gestures in non-native listener populations are less clear and studies have mostly involved iconic gestures. The current study aims to complement these findings by testing the potential beneficial effects of beat gestures (non-referential gestures which are often used for information- and discourse marking) on language recall and discourse comprehension using a narrative-drawing task carried out by native and non-native listeners. Using a within-subject design, 51 French intermediate learners of English participated in a narrative-drawing task. Each participant was assigned 8 videos to watch, where a native speaker describes the events of a short comic strip. Videos were presented in random order, in four conditions: in Native listening conditions with frequent, naturally-modeled beat gestures, in Native listening conditions without any gesture, in Non-native listening conditions with frequent, naturally-modeled beat gestures, and in Non-native listening conditions without any gesture. Participants watched each video twice and then immediately recreated the comic strip through their own drawings. Participants’ drawings were then evaluated for discourse comprehension (via their ability to convey the main goals of the narrative through their drawings) and recall (via the number of gesturally-marked elements in the narration that were included in their drawings). Results showed that for native listeners, beat gestures had no significant effect on either recall or comprehension. In non-native speech, however, beat gestures led to significantly lower comprehension and recall scores. These results suggest that frequent, naturally-modeled beat gestures in longer discourses may increase cognitive load for language learners, resulting in negative effects on both memory and language understanding. These findings add to the growing body of literature that suggests that gesture benefits are not a “one-sizefits-all” solution, but rather may be contingent on factors such as language proficiency and gesture rate, particularly in that whenever beat gestures are repeatedly used in discourse, they inherently lose their saliency as markers of important information. The first author would like to acknowledge a joint PhD grant, awarded by the Department of Translation and Language Sciences, Universitat Pompeu Fabra, and SGR AGAUR Grant, Generalitat de Catalunya, Award number: 2017 SGR_971. Spanish Ministry of Science, Innovation and Universities, Grant/Award Number: PGC2018-097007-B-I00. SGR AGAUR Grant, Generalitat de Catalunya, Award number: 2017 SGR_971. The GEHM (Gesture and Head Movements in Language) Research Network, funded by the Independent Research Fund Denmark, Grant/Award number: 9055-00004B.

International audience; As a first step towards increasing reproducibility of language data and promoting scientific synergies and transparency, CORLI (Corpus, Language and Interaction), a consortium involving members from more than 20 research labs and 15 Universities, part of the French large infrastructure Huma-Num, contributes to the European research infrastructure of CLARIN through the establishment of a knowledge sharing centre: the French Clarin CORpus Language and Interactions K-Centre (CORLI K-Centre). The purpose of the CORLI K-Centre is to provide expertise in corpus linguistics and French language, and support academic communities through actions towards FAIR and Open data. We describe the development of the CORLI K-Centre, its scope, targeted audiences, as well as its intuitive and interactive online platform which centralizes and offers both proactive and reactive services about: available language resources, databases and depositories, training opportunities, and best research practices (i.e., on legal/ethical issues, data collection, metadata standardization, anonymization, annotation and analysis guidelines, corpus exploration methods, format conversions and interoperability).

International audience; In most studies on French prosody, two or three distinct levels of constituency above the word are assumed: the accentual phrase, the intermediate phrase and the intonational phrase. While there is considerable agreement on the definition of the accentual phrase, there is much controversy over the two other levels. In this paper, we will argue for a new definition of the intermediate phrase. Our proposal will depart from previous work in two ways. First, we will clarify the extension and status of the intermediate phrase (or phonological phrase) in such a way as to consider it essentially as a metrically-driven prosodic unit. Second, a distinction will be made between this metrically-driven phrase and two types of intonational phrases on the basis of the intonational contours occurring at their right edge.This proposal, which accounts for phrasing and intonation contour choice at the underlying phonological level, is based on the analysis of utterances extracted from experimental studies and corpora, focussed on (a) the inventory and possible realisations of the contours at the right edge of these phrases, (b) their relation with the morpho-syntactic and semanticstructures.

International audience; In Urdu/Hindi, the intonation of a sentence consists of a sequence of rising F0 contours (LH). These LH contours are the default intonation pattern associated with a basic prosodic unit which is analyzed either as a foot [1] or as a phonological phrase [2]. [1] , however, reported that a tonal pattern with two F0 rises (LHLH) was observed in morphologically complex words and syntactic phrases, but he did not provide an analysis to predict the occurrence of these double rises. The phonological status of these rises is not clear either. The current research addresses this issue and investigates the contexts in which the realization of double rises is observed. Using data from production experiments and speech corpus, we show that the LHLH pattern is not related to morphological complexity or morpheme type as these rises occur in monomorphemic words as well as in words with inflectional and derivational morphemes. We thus argue that the occurrence of these two rises is rhythmically constrained. Tonal alignment confirms such an analysis in which the first L and the last H tones are regular AP boundary tones, whereas the additional H and L tones are inserted for rhythmic reasons.

International audience; To have more control over Text-to-Speech (TTS) synthesis and to improve expressivity, it is necessary to disentangle prosodic information carried by the speaker's voice identity from the one belonging to linguistic properties. In this paper, we propose to analyze how information related to speaker voice identity affects a Deep Neural Network (DNN) based multi-speaker speech synthesis model. To do so, we feed the network with a vector encoding speaker information in addition to a set of basic linguistic features. We then compare three main speaker coding configurations: a) simple one-hot vector describing the speaker gender and identifier ; b) an embedding vector extracted from a speaker recognition pre-trained model ; c) a prosodic vector which summarizes information such as melody, intensity, and duration. To measure the impact of the input feature vector, we investigate the representation of the latent space at the output of the first layer of the network. The aim is to have an overview of our data representation and model behavior. Furthermore, we conducted a subjective assessment to validate the result. Results show that the prosodic identity of the speaker is captured by the model and therefore allows the user to control more precisely synthesis.

A study on the metrical form and meaning of the lines of poetry written in 1514 on the funeral box of the heart of the duchess Anne de Bretagne (stolen in 2018 in Nantes). This analysis requires taking into account not only the versification of that period, but the form and function of the object on which they are written.; Etude de la forme et du sens des vers inscrits en 1514 sur le boîtier funéraire du cœur de la duchesse Anne de Bretagne conservé à Nantes (dérobé en 2018). Leur analyse implique de tenir compte non seulement de la versification de l'époque, mais de la forme et de la fonction de l'objet sur lequel ils sont inscrits.

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Notre étude vise à décrire l’influence du type de sujet et de sa saillance phonologique sur la morphologie des verbes alternants au pluriel dans l’interlangue française d’apprenants germanophones, italophones et suédophones. Elle se situe dans la suite des travaux de Nadasdi (2001), Howard (2006) et Michot (2014), qui avaient respectivement creusé la question dans des corpus FL2 d’apprenants anglophones et néerlandophones et qui avaient abouti à des résultats contraires, avec absence d’effet du type de sujet chez les anglophones et présence chez les néerlandophones. En créant des contexte de récolte de données aussi similaires que possible auprès des trois groupes d’apprenants, nous montrerons que les apprenants suédophones sont plus sensibles à l’effet du type de sujet et de sa saillance phonologique sur l’accord d’un verbe alternant en contexte pluriel, ce qui tendrait à confirmer l’hypothèse de l’amorçage pour ce groupe alors que les deux autres groupes ne permettent pas de privilégier l’une ou l’autre hypothèse. La L1 pourrait donc constituer un critère pertinent pour mieux appréhender l’apprentissage des formes verbales en FL2, quoique le stade développemental ne soit pas à négliger, comme le confirmera notre analyse intra-groupe des germanophones. Our study aims to describe the influence of the subject type and its possible phonologically salient nature on verbal morphology and agreement in French interlanguage by German, Italian and Swedish learners. It is inspired by the research of Nadasdi (2001), Howard (2006) and Michot (2014), respectively dealing with this issue in FL2 corpuses of English- and Dutch-speaking learners. Their analyses led to opposite results, with absence of subject type effect among English learners and presence among Dutch learners of FL2. In order to better understand the learning process, we created a data collection context as similar as possible with the three groups of learners, which allows us to show that Swedish learners are more sensitive to the effect of the subject type and its phonological salience on verbal agreement in a plural context. This would tend to confirm the priming hypothesis for this group while the other two groups do not allow to favor any hypothesis. L1 could therefore constitute a relevant criterion for better understanding the learning process of verbal forms in FL2, although developmental stages are not to be neglected, as our intra-group analysis of German speakers will confirm.

We provide the first description and compositional semantic analysis of a construction that we label a "multiple wh - free relative clause" -- an embedded non-interrogative wh -clause with more than one wh -word. We show that multiple wh -free relative clauses are closely related to the more familiar free relative clauses with one wh -word ⎯- single wh - free relative clauses. We argue that an appropriate semantic analysis for multiple wh -free relative clauses can be grounded in the semantic analyses that have been proposed for single wh - free relative clauses, but crucially requires non-trivial broadening of the meaning of wh -words. Focusing on Romanian, we propose a compositional account of multiple wh - FRs building on two main components: (i) the assumption that wh -words can license complex traces/variables with a functional component -- an option that has been independently suggested for several other wh - constructions, and (ii) a new functional meaning for wh -words -- a close variant of the functional meaning of wh -words that has been independently proposed to account for functional wh - interrogative clauses. EARLY ACCESS

International audience; This paper presents an exploratory study of open-palm gestures with five recurring hand orientations and their use by storytellers speaking different languages, within distinct cultures-Metropolitan French, American English (US), and Kabyle Berber (Algeria). With the help of single (CA) and multiple correspondence analysis (MCA), we show that (a) storytellers of the three languages do not perform the same recurrent openpalm gesture orientations and (b) that they do not align their gestures with the same speech events: the speech prosody accompanying those gestures is different depending on the language of the storytellers. Overall, the study provides a preliminary picture of the various cultural stances adopted in the activity of storytelling.

International audience; This chapter concentrates on the interaction between modal verbs and tense-aspect operators. It explores the question of the link between types of modality and temporal configurations by adopting a precise framework for the analysis of temporal configurations in modal environments and by tracing the development of the hypothesis of a structural difference between epistemic and non-epistemic modals.

Les effets de contexte dans la perception de la parole reposent aussi bien sur des sources acoustiques que sémantiques. Le contexte acoustique fournit des informations essentielles pour l’adaptation au locuteur et aux variations dialectales. En parallèle, le contexte sémantique contribue à prédire un ensemble de mots éligibles pour une interprétation licite des énoncés. Afin d’étudier plus précisément les interactions entre ces effets de contexte, nous avons créé une base de données de phrases courtes conçues pour observer ces phénomènes dans des protocoles expérimentaux. Cette base de données est constituée de 28 triplets de phrases porteuses terminées par des cibles de paires minimales de mots CV ou CVC, autour de voyelles acoustiquement proches associées à 4 contrastes vocaliques. Afin d’évaluer la validité des 3 catégories de contexte sémantique considérées, des mesures de similarité sémantique et de fréquence lexicale ont été réalisées à partir de différents corpus de langue française.

This chapter investigates the interplay between negation and alternatives, one of the richest areas of investigation for the semantics-pragmatics interface, with significant insights into how meaning is compositionally calculated and the role context plays in this process. It explores the focus-sensitivity of negation and the role of syntactic factors in determining the scope of negation with respect to focused elements. The semantic effects produced by the interaction between negation and focus alternatives are approached by discussing two empirical domains (i) focus-sensitive particles and (ii) focused and non-focused negative polarity items.

Dans les travaux sur la prosodie du français sont généralement proposés deux ou trois niveaux de structuration prosodique: le syntagme accentuel, le syntagme intermédiaire et le syntagme intonatif. Alors que les auteurs sont souvent d’accord sur les modalités de construction du syntagme accentuel, il n’en est pas de même pour les deux autres niveaux. Dans cet article, nous proposons de redéfinir le syntagme intermédiaire. Cette proposition diffère des autres travaux en deux points. Premièrement, l’extension et le statut du syntagme intermédiaire est clarifié pour en faire une unité métrique. Deuxièmement, une distinction est faite entre cette unité et deux types de syntagme intonatif. Cette proposition se base sur l’inventaire des contours observés à la frontière droite de ces unités et sur l’étude des relations qu’elles entretiennent avec les structures morpho-syntaxique et sémantique. Elle vise à rendre compte du phrasé et du choix des contours intonatifs à un niveau phonologique sous-jacent.

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In several alexandrine lines published between 1620 and the end of the 17th century, an obvious 4-4-4 rhythm seems to be forcefully super-imposed to the 6-6 periodic meter by linguistic parallelism. The resulting rhythmic tension seems to be associated with a dramatic or semantic tension.; Dans plusieurs alexandrins du 17e siècle à partir de 1620, un rythme 4-4-4 évident semble être sur-imposé au mètre périodique 6-6 par un parallélisme linguistique. La tension rythme qui en résulte semble associée à une tension dramatique ou sémantique.

Gagarina, N., Klop, D., Kunnari, S., Tantele, K., Välimaa, T., Bohnacker, U. & Walters, J. (2019). MAIN: Multilingual Assessment Instrument for Narratives - Revised. Materials for use. ZAS Papers in Linguistics, 63.