http://hdl.handle.net/10993/56 Search this channel search http://orbilu.uni.lu/simple-search http://hdl.handle.net/10993/41907 Title: Hatt or si? Neuter and feminine gender assignment in reference to female persons in Luxembourgish <br/> <br/>Author, co-author: Martin, Sara http://hdl.handle.net/10993/41857 Title: Grammatische Strukturen im mehrsprachigen Kontext sichtbar und begreifbar machen: Vorstellung des grammatikdidaktischen Materials Bausteng Grammatik – Bausteine Grammatik <br/> <br/>Author, co-author: Weth, Constanze http://hdl.handle.net/10993/41856 Title: Trigraph <br/> <br/>Author, co-author: Weth, Constanze http://hdl.handle.net/10993/41855 Title: Graphematisches Segment <br/> <br/>Author, co-author: Weth, Constanze http://hdl.handle.net/10993/41854 Title: Zusammengesetztes Graphem <br/> <br/>Author, co-author: Weth, Constanze http://hdl.handle.net/10993/41852 Title: Archigraphem <br/> <br/>Author, co-author: Weth, Constanze http://hdl.handle.net/10993/41840 Title: A Temporal Warehouse for Modern Luxembourgish Text Collections <br/> <br/>Author, co-author: Gierschek, Daniela; Gilles, Peter; Purschke, Christoph; Schommer, Christoph; Sirajzade, Joshgun http://hdl.handle.net/10993/41828 Title: Flouernimm a Sproochgeschicht <br/> <br/>Author, co-author: Mersch, Sam http://hdl.handle.net/10993/41827 Title: Wegenamen als Flurnamen <br/> <br/>Author, co-author: Mersch, Sam http://hdl.handle.net/10993/41826 Title: Geeky Gothic - Gotisch für Liebhaber - Course Reader <br/> <br/>Author, co-author: Mersch, Sam http://hdl.handle.net/10993/41823 Title: Rezension: Christian Voß / Wolfgang Dahmen (Ed.): Babel Balkan? Politische und soziokulturelle Kontexte von Sprache in Südosteuropa (= Südosteuropa-Jahrbuch Band 40), München: Ottos Sagner (2014) <br/> <br/>Author, co-author: Mersch, Sam http://hdl.handle.net/10993/41596 Title: La monstruosité maternelle dans l’œuvre d’Anne Hébert <br/> <br/>Author, co-author: Barthelmebs, Hélène http://hdl.handle.net/10993/41573 Title: Ansätze einer grenzüberschreitenden Sprachen- und Kulturdidaktik für die luxemburgische Grundschullehrerausbildung <br/> <br/>Author, co-author: Morys, Nancy http://hdl.handle.net/10993/41393 Title: Comprendre la mise en abyme. Arts et médias au second degré <br/> <br/>Editor: Tore, Gian Maria; Raus, Tonia http://hdl.handle.net/10993/41103 Title: Six regards sur la master-classe de piano : phénoménologie et sémiotique de la rencontre musicale <br/> <br/>Author, co-author: Kim, Seong Jae <br/> <br/>Abstract: Notre thèse propose de nouvelles voies pour saisir la dimension d’affect de l’expérience musicale, que la sémiotique comme la musicologie traditionnelle prennent peu – ou bien mal – en compte. En nous inspirant d’une pensée modélisante de facture dynamiciste, telle que développée à partir des années 1960 et depuis influente dans les disciplines sémiolinguistiques, nous cherchons à accompagner le mouvement des sémiogenèses au sein d’une master-classe de piano. Le terme de sémiogenèse, ici, est pris dans un sens large, embrassant tout déploiement de formes, qu’elles soient vagues ou articulées, diffuses ou bien cernées : formes tendues entre expressivité et normativité, et formes valorisées parce qu’appelant à participer à une ligne de vie qui par elles vient à exister. La master-classe est un cours donné par un grand maître à des élèves accomplis, qui témoignent ainsi véritablement de leur propre vie, de leur sentir éthique, à travers la recherche d’une autre praxis musicale. Ces dernières années, le champ de la master-classe a commencé de retenir l’attention de la communauté scientifique, notamment dans des domaines liés à l’enseignement et à l’expérience musicale, tels que la psychologie, l’esthétique et l’épistémologie (ou encore la sociologie). Pourtant il nous semble regrettable que la plupart des problématiques adoptées dans ces cadres n’intègrent rien ou si peu encore des métamorphoses de la sensibilité et du jeu du sentiment musical dans la caractérisation de leurs objets. Or le champ de la master-classe nous paraît particulièrement intéressant en ce que l’horizon d’affect y est prééminent dans toute l’activité sémiotique qui s’y noue. Nous avons ainsi assisté à plusieurs master-classes et suivi de près la praxis des musiciens (participations aux cours, enregistrements, entretiens, conversations …) dans l’esprit de rendre toute sa profondeur génétique à l’activité sémiotique, en l’abordant sous la perspective d’une rencontre et d’une orientation des sensibilités musicales. Une des tâches que nous nous sommes donc assignées dans la description de cette praxis musicale particulière consiste à comprendre les phénomènes sonores, langagiers et gestuels attenants comme les conditions sémiogénétiques de la constitution d’un sens musical. Il s’agit d’une méthode fondamentalement descriptive, en mode philosophique (Shaftesbury, Kierkegaard, Wittgenstein, Merleau-Ponty) et sémiotique (Peirce, Saussure), qui rejoint la préoccupation sémiotique dès les premiers niveaux d’une microgenèse, et en la reprenant d’emblée au sein d’une phénoménologie herméneutique et existentielle. Cette problématique perceptive et sémiogénétique de la sensibilité musicale nous met notamment en mesure de retravailler la notion de motif musical, à la fois comme motif-de-praxis et comme motif-existentiel. Nous avons ainsi tenté de tirer au clair une certaine écoute du jeu musical en y retrouvant comme un passage constant entre une perception d’emblée éthique, et la recherche aussi, à travers le jeu et ses motifs, de personnalités musicales qui s’y trouvent engagées. De telles notions de motif et de personnalité nous ont paru opportunes dans la mesure où elles permettent justement de proposer une certaine éthique du sentiment musical, sans le réduire à un savoir-faire, à une psychologie ou à l’exécution d’un rituel. Nous sommes ainsi parvenus à réinterroger toute notion de ‘signe’ musical en sollicitant l’horizon ‘motival’ de cette ‘activité symbolique’, comprise, dans la nature formelle et sensible des pratiques, comme une participation (un désir et un engagement de participer) à un certain régime de l’existence humaine. Par là on fraye la voie à une nouvelle conception de la praxis musicale, qui relie esthétique et éthique. La thèse développe ainsi cette problématique en posant sur elle six Regards successifs : Master-classe de piano ; Sentir, savoir, faire ; Champ et forme ; Motif et forme ; Lignes de vie ; Enchantement.; In this thesis, I suggest new ways of grasping the affective dimension of musical experience that which traditional semiotics and musicology take little into account. Inspired by a dynamistic modelling approach –which developed from the 1960s and since then has been influential in the domain of semiolinguistic disciplines–, I sketch out the fluctuating phases of semiogenesis within the field of piano masterclasses. The term ‘semiogenesis’ here, is taken in a broad sense, encompassing any deployment of sign-forms, either vague or articulated, diffused or well-defined. Such forms are conceived as being strained between expressiveness and normativity. They are also valorized in that they call the subject to participate in his or her own ‘lines of life’ which, in turn, may come to exist by those forms. A piano masterclass is given by a genuine master to highly accomplished students, both who truly testify to their own lives, to their own ways of ethical feeling, in the search for a unique musical praxis. In recent years, the field of masterclass has begun to attract the attention of the scientific community, especially in areas related to musical teaching and experience, such as psychology, aesthetics and epistemology or even sociology. Yet it is still suboptimal that most of the problems adopted in these frameworks incorporate nothing or so little in terms of the metamorphosis of sensitivity and the play of musical feeling in the characterization of their research objects. Nevertheless, the field of piano masterclass seems to be a particularly interesting and promising object of research in that the horizon of affect is preeminent in all the semiotic activities tied to it. Thus, I have attended several masterclasses in order to closely follow the praxis of the musicians (e.g., active and passive participation in masterclasses, audiovisual recordings, interviews, conversations and debates on music, etc.), in the spirit of making all its genetic depth to the semiotic activity, by approaching it under the perspective of an encountering and an orientation of musical sensibilities. One of the main tasks of my approach in the designing of the descriptions of this particular musical praxis consists in understanding the acoustic, gestural and linguistic phenomena, as giving birth to semiogenetic conditions of the constitution of a musical meaning. In this way, it is a fundamentally descriptive method, inspired by philosophical (Shaftesbury, Kierkegaard, Wittgenstein, Merleau-Ponty) and semiotic (Peirce, Saussure) minds, which joins the semiotic preoccupation from the very initial levels of a microgenesis, and by promoting it immediately into a hermeneutical and existential phenomenology. The perceptive and semiogenetic issues of musical sensitivity allow us to remodel the notion of a musical motive, understood both as a motive-of-praxis and as an existential-motive. I tried to grasp the idea of a certain listening of the musical praxis by finding there a constant passage between an ethical perception, and the search –through the playing of the music and its motives–, for a musical personality engaged in the musical praxis. Such conceptions on motive and personality proved to be fruitful to the extent that they make it possible to suggest a certain ethic of musical feeling, without reducing it to a skill, a psychology or a ritual. I have thus managed to redefine the notion of a musical ‘sign’ by playing up on the 'motival' horizon of this semiotic activity, understood – in the formal and sensitive nature of musical practices– as participation (i.e., desire and commitment to participate) to a certain regime of human existence. In this way, I believe to be paving the way for a new conception of musical praxis, which interweaves aesthetics and ethics. The thesis thus addresses these problems by casting six successive contemplations on it: Piano Masterclass; Feeling, Knowing and Doing; Field and Form; Motive and Form; Lines of Life; Enchantment. http://hdl.handle.net/10993/41055 Title: Comparing Academic Languages: German, English, French <br/> <br/>Author, co-author: Huemer, Birgit; Deroey, Katrien; Lejot, Eve http://hdl.handle.net/10993/41020 Title: Towards an understanding of the language–integration nexus: a qualitative study of forced migrants’ experiences in multilingual Luxembourg <br/> <br/>Author, co-author: Kalocsanyiova, Erika <br/> <br/>Abstract: This cumulative thesis offers insights into the under-researched area of linguistic integration in multilingual societies. It is a collection of four papers that seek to address key questions such as: How can people’s existing language resources be validated and used to aid language learning? What are the politics of language and integration in settings of complex linguistic diversity? What role do language ideologies play in their creation and/or perception? What types of individual trajectories emerge? The research reported here is grounded in the Luxembourgish context, which represents an important European focal point for exploring the dynamics of linguistic integration. Taking a qualitative approach informed by linguistic ethnography (Copland & Creese 2015; Pérez-Milans 2016; Rampton 2007a; Rampton et al. 2015; Tusting & Maybin 2007), this work focuses on the language learning and integration experiences of five men who, fleeing war and violence, sought international protection in the Grand Duchy of Luxembourg. Building on theories of multilingual communication (Canagarajah & Wurr 2011), translanguaging (Creese & Blackledge 2010; García & Li Wei 2014) and receptive multilingualism (ten Thije et. al. 2012), the first paper of this thesis considers the affordances of multilingual learning situations in classroom-based language training for forced migrants. The second paper moves on to scrutinise the instrumental and integrative dimensions of language (Ager 2001), as articulated and perceived by the research participants. It exposes the vagueness and contradictory logics of linguistic integration as currently practiced, and throws light on how people with precarious immigration status interpret, experience and act upon ideologies surrounding language and integration (cf. Cederberg 2014; Gal 2006; Kroskrity 2004; Stevenson 2006). The third paper, likewise, directs attention to the controversies and potential unwarranted adverse effects of current linguistic integration policies. Through juxtaposing the trajectories of two forced migrants – who shared similar, multi-layered linguistic repertoires (Blommaert & Backus 2013; Busch 2012, 2017) – this part of the thesis elucidates the embodied efforts, emotions, and constraints inherent in constructing a new (linguistic) belonging in contemporary societies. Taken together, these papers illustrate and expand the discussion about the language–integration nexus. Additionally, by bringing into focus multilingual realities and mobile aspirations, they seek to provide a fresh impetus for research, and contribute to the creation of language policies that recognise a larger range of communicative possibilities and forms of language knowledge (cf. Ricento 2014; Flubacher & Yeung 2016). The thesis also makes a methodological contribution, by demonstrating the value of cross-language qualitative research methods in migration and integration research. It includes a detailed discussion of the complexities of researching in a multilingual context (Holmes et al. 2013; Phipps 2013b), as well as a novel inquiry into the interactional dynamics of an interpreter-mediated research encounter (fourth paper). http://hdl.handle.net/10993/41007 Title: Zu Tisch beim Renert. Die monogrammierte Tischdecke der Famillie Rodange-Leysen <br/> <br/>Author, co-author: Mersch, Sam http://hdl.handle.net/10993/41004 Title: Puissances et limites de l’abyme : ou Quand il y a fait de langage <br/> <br/>Author, co-author: Tore, Gian Maria http://hdl.handle.net/10993/40966 Title: Quelques remarques et propositions concernant la maîtrise de la langue française à l'université. Universités de Haute-Normandie : Rouen, Le Havre <br/> <br/>Author, co-author: Freyermuth, Sylvie