The French Language has several past tenses, including the passé composé and the imparfait. These tenses are at first sight similar to two past tenses in Dutch, the voltooid tegenwoordige tijd and...Show moreThe French Language has several past tenses, including the passé composé and the imparfait. These tenses are at first sight similar to two past tenses in Dutch, the voltooid tegenwoordige tijd and the onvoltooid verleden tijd. For Dutch learners of the French language, it may seem that you use the French passé composé, when you have to use the voltooid tegenwoordige tijd in Dutch, because both the passé composé as the voltooid tegenwoordige tijd are composed of an auxiliary and a past participle. However, there is a difference with regard to the use of these tenses in Dutch and in French. The mother tongue, in this case Dutch, can interfere with the acquisition of the French tenses by Dutch learners. It is possible that there is a negative transfer of Dutch to French. The Dutch education could help learners to acquire the correct use. This thesis examines the transfer of Dutch to French concerning the past tenses and it examines the role that plays education in the process of transfer. In the thesis, we will discuss the past tenses that are used in French and in Dutch and we will examine the role of the mother tongue (Dutch), specially the process of transfer. Furthermore we will discuss the role of de education in this transfer. In which way the education can improve the acquirement of these tenses? With the help of a forced choise task, we will try to specify the role of the transfer of Dutch to French concerning the past tenses and we will try to examine the role of education in this acquisition.Show less
Dans le monde des musées, une nouvelle révolution a commencé : « la révolution de la restitution », comme l’historienne de l’art Bénédicte Savoy l’appelle. Des œuvres d'art acquises de manière...Show moreDans le monde des musées, une nouvelle révolution a commencé : « la révolution de la restitution », comme l’historienne de l’art Bénédicte Savoy l’appelle. Des œuvres d'art acquises de manière douteuse à l'époque coloniale doivent être restituées au pays d'origine par les musées occidentaux. À l'aube d'une nouvelle ère, où des changements dans la politique de restitution du patrimoine culturel africain sont en cours, il est également important de réfléchir sur le passé et d'en tirer des enseignements. Cela s’applique également et surtout au cas particulier de la France, puisque ce n'est pas la première fois que la république doit renoncer à des œuvres d'art acquis de manière illégitime. En effet, en 1815, un débat similaire a eu lieu. Après la perte de la bataille de Waterloo par Napoléon (1769-1821), plusieurs pays européens, dont la Prusse, l'Italie et les Pays-Bas, ont récupéré leurs trésors d'art spoliés par la France lors des guerres révolutionnaires et napoléoniennes. Actuellement, il n’existe pas assez d'attention pour ce précédent, car les musées français adoptent eux-mêmes une attitude dominante et restent sceptiques quant à la restitution de l'art colonial spolié, ainsi l’histoire semble se répéter. Cela soulève la question de savoir si la France a examiné son passé critiquement et a tiré des leçons de l'expérience acquise précédemment lors de la restitution d’art spolié. Afin de contribuer au débat actuel sur la restitution des œuvres spoliées aux pays africains, la restitution du cabinet de tableaux de Stathouder Guillaume V (1748-1806), spolié par la France en 1795 et exposé dans le Musée du Louvre jusqu’à 1815, a été retenue comme objet de recherche dans cette étude, qui tente de répondre à la question suivante : Dans quelle mesure, au cours du débat du 21e sur la restitution de l'art colonial spolié, les musées occidentaux s'en tiennent-ils aux idées de la France révolutionnaire ?Show less
Fiction – in the hands of powerful men and women – can influence society and politics, directly or indirectly. Although the role of a novelist is different from the role of a politician, they both...Show moreFiction – in the hands of powerful men and women – can influence society and politics, directly or indirectly. Although the role of a novelist is different from the role of a politician, they both have responsibilities towards society, especially if they are famous and powerful men like Houellebecq and Macron. The public, citizens in a democracy, also have their responsibility to be active and critical, but may not always be aware of "the art of manipulation". In this age, in which storytelling and "fake news" seem to have more impact (or credibility) than arguments and facts, we might state that the power of skillful writers is more important than ever. In what way are Houellebecq and Macron responsible for (the impact of) their writings, what is the power of their words, and what does this power mean in France today? In this thesis we compare Submission and Revolution, using theories from literature but also from sociology and historiography, notably the concepts of "performativity" and “storytelling”, applicable in several fields. Attentive to their differences, we'll compare a literary and a political book, analysing the use of fiction combined with politics and vice versa.Show less
Le titre du conte annonce l'importance du personnage d'Hérodias.Mais en le lisant, on peut remarquer qu'elle n'y apparait pas fréquemment. Le conte semble centré sur l'opposition de la religion et...Show moreLe titre du conte annonce l'importance du personnage d'Hérodias.Mais en le lisant, on peut remarquer qu'elle n'y apparait pas fréquemment. Le conte semble centré sur l'opposition de la religion et le pouvoir. Cependant, dans le conte il y a deux niveaux différents dans la hiérarchie des personnages. Au niveau extérieur les personnages sont classés selon leur pouvoir et leur classe sociale. Au niveau intérieur il y a une autre structure, qui résulte en un renversement de la hiérarchie. Au sommet de la pyramide, c'est bel et bien Hérodias qui tient les ficelles des actions.Show less
There are a lot of theories on the way the multilingual brain is shaped and on how multilingual language processing functions. In this research project, we discuss three models of lexical...Show moreThere are a lot of theories on the way the multilingual brain is shaped and on how multilingual language processing functions. In this research project, we discuss three models of lexical processing (the BIA+ model, the revised hierarchical model, and the independent model). We try to decide which of the models represents language processing at its best with an experiment. In the experiment, we tested Dutch students of the French language with different levels of proficiency: 10 students with high language proficiency and 10 students with low language proficiency. We based the proficiency levels on the LexTALE test. The students participated in a semantic priming experiment in which the prime was offered in French and the image was to be named in Dutch. We expected to find a faster reaction time for students with high language proficiency and no influence of semantic priming for the low proficiency group, as follows the revised hierarchical model. This model explains this difference between groups by the links between lexical and conceptual representations in the two languages: these aren’t developed yet for low proficient speaker and thus we shouldn’t find an effect of semantic priming. However, our results support the independent model, in which there are no connections between language processing systems of different language in the brain.Show less
Une comparaison d’Eponine et Cosette dans le roman Les Misérables (1862) de Victor Hugo, et leurs homologues dans le film du même titre sortie en 2012, donc 150 ans plus tard.Les normes et les...Show moreUne comparaison d’Eponine et Cosette dans le roman Les Misérables (1862) de Victor Hugo, et leurs homologues dans le film du même titre sortie en 2012, donc 150 ans plus tard.Les normes et les exigences imposées aux femmes, dans la vraie vie et dans les médias ne sont plus les mêmes qu’à l’époque de Victor Hugo. L’adaptation de 2012 a été créé pour un public anglophone. D’où notre question de recherche : quels éléments est-ce que les cinéastes contemporains ont gardés pour qu’un public puisse sympathiser avec les personnages d’Eponine et Cosette de nos jours? Et quels éléments ont-ils changés? Et surtout: quelle motivation est-ce que l’on peut découvrir derrière ces modifications?Show less
In 2012-13, the French government’s decision to legalize same-sex marriage inspired mass protests in several cities for more than a year. This was surprising, as several other West-European states...Show moreIn 2012-13, the French government’s decision to legalize same-sex marriage inspired mass protests in several cities for more than a year. This was surprising, as several other West-European states had previously introduced similar bills without much controversy. These countries all had shown a clear pattern of rapidly declining prejudice against sexual minorities during the last decades. Some scholars have suggested, however, that in France this newly found acceptance of LGB individuals has not generalized to same-sex parenting, as the model of the heterosexual family remains one of the essential components of the dominant French national ideology and its quest for “abstract universalism”. In this thesis, I compared attitudes towards homosexuality and gay parenting in France and Europe. Analyzing datasets from the European Social Survey, I found evidence that French attitudes towards homosexuality are largely identical to those of other Western Europeans. However, French views on gay parenting turned out to be much more polarized than in other countries where gay marriage had been legalized. This may partly explain why such large protests against gay marriage had arisen in France in 2012-13, but not elsewhere in Europe where similar policies have been enacted.Show less
Ce mémoire porte sur l'ère, l'air ou l'aire de la Francophonie plurielle en Afrique centrale, d'où la question de recherche suivante: Pourquoi est-il souhaitable de parler de Francophonie plurielle...Show moreCe mémoire porte sur l'ère, l'air ou l'aire de la Francophonie plurielle en Afrique centrale, d'où la question de recherche suivante: Pourquoi est-il souhaitable de parler de Francophonie plurielle dans les domaines de la langue, la politique et l'économie pour les États francophones d'Afrique noire en général et d'Afrique centrale en particulier, pendant les périodes post-coloniale et postcoloniale? Peut-on utiliser l'"afropolitanisme" comme un moyen efficace pour sortir de la Francafrique et atteindre la Francophonie que nous voulons plurielle?Show less
Ce mémoire examine l'importance de la langue bretonne par rapport à l'identité bretonne. Nous avons choisi de mener une enquête de 23 questions auprès de 140 participants, dont les réponses nous...Show moreCe mémoire examine l'importance de la langue bretonne par rapport à l'identité bretonne. Nous avons choisi de mener une enquête de 23 questions auprès de 140 participants, dont les réponses nous permettent de comprendre le lien entre la langue et l’identité.Show less
In this thesis, I analyze the view that the narrator of Madame Bovary takes on the society of the (fictional) French provincial town of Yonville. Gustave Flaubert, the author of the novel, strongly...Show moreIn this thesis, I analyze the view that the narrator of Madame Bovary takes on the society of the (fictional) French provincial town of Yonville. Gustave Flaubert, the author of the novel, strongly insist in his famous Correspondence on the impersonality and the objectivity of the author. Being the emissary of the author, the narrator therefore also has the task to withhold himself from any subjective statements or emotions and so on. However, there are multiple indications (both resulting from the novel itself and from the remarks of scholars) that question the approach so called ‘impersonal’ of the narrator. Giving ironic descriptions of his characters, and sometimes mocking them overtly, he doesn’t always seem to live up to the position of an objective narrator. Apparently, there is a contrast between Flaubert’s aesthetics (as pronounced in his Correspondence), that state that the narrator has to stay impersonal and even impassive, and the actual approach of the narrator in Madame Bovary. The claim we have made is that the narrator is above all a person himself as well, who has his own feelings that he expresses accordingly.Show less
This corpus study explores the use of the particle 'ne' in spoken modern French in relation to a number of linguistic factors, such as morpho-phonological processes and negative polarity contexts....Show moreThis corpus study explores the use of the particle 'ne' in spoken modern French in relation to a number of linguistic factors, such as morpho-phonological processes and negative polarity contexts. In particular, the study aims to investigate the link between the possible presence/absence of the particle 'ne' and the use of a negative expression as a negative polarity item. This hypothesis was rejected based on a large amount of data, and a new one was suggested in which we suppose that there might be a connection between clitics and the appearance of a null particle 'ne'. The study was based on a very large corpus, ESLO2, and provides a clear overview of the relevant literature and the data examined.Show less
Ce mémoire examine le rôle du 'négatif' dans la théorie littéraire de Maurice Blanchot, son lien avec 'l'espace littéraire', et l'influence de Martin Heidegger à ce propos.
La question centrale de ce mémoire est : Dans quelle mesure le chevalier de Mailly utilise-t-il le merveilleux et la galanterie pour créer une œuvre d’une identité indéfinie ? Le chevalier de...Show moreLa question centrale de ce mémoire est : Dans quelle mesure le chevalier de Mailly utilise-t-il le merveilleux et la galanterie pour créer une œuvre d’une identité indéfinie ? Le chevalier de Mailly a combiné deux tendances littéraires dans son œuvre « Les Illustres Fées. Contes galans. Dédié aux Dames » de 1698. Le livre fait partie du courant littéraire des contes de fées, dont on peut trouver beaucoup de caractéristiques dans les histoires. En outre, l’auteur y a ajouté de la galanterie. Il s’agit d’une galanterie qui rend les héros encore plus agréables, mais il y a aussi une galanterie licencieuse qui crée une couche plus adulte. Les deux tendances se renforcent dans l’œuvre : la galanterie fait que la structure des contes de fées est plus facile à reconnaître et les contes de fées créent des conditions pour une insertion facile de la galanterie. Ainsi, l’auteur a créé un livre destiné à un lectorat divers par son identité ambiguë.Show less
The writings of André Gide and Julien Green are very much influenced by the oppression they felt by the strict moral rules of Christianity during their childhood. The spiritual struggle they have...Show moreThe writings of André Gide and Julien Green are very much influenced by the oppression they felt by the strict moral rules of Christianity during their childhood. The spiritual struggle they have had during their entire life made them criticize the demanding character of religion, and of Protestantism in particular. The two writers are very different when it comes to their origins, their attitude towards religion and their literary style, but in these novels, it is clear that they elaborate the same theme: that of the excessive Christian morality. In this study, the focus will be on the way both authors underline and question the strict moral rules that the protagonists of their novels impose themselves. First, a closer look will be taken at the spiritual quest the authors have gone through themselves in respect to the religious heritage of their childhood. Secondly, the novels will be studied by focusing on the way Gide and Green deal with the theme of excessive morality and express the critical attitude they adopt towards these excesses of the Christian religion.Show less
