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THE SEMANTICS OF SUSPICION IN THE WRITINGS OF DESMOULINS
Title
THE SEMANTICS OF SUSPICION IN THE WRITINGS OF DESMOULINS.
Creator
Gilbert, Ivy
Abstract/Description
An exacting command of language in his employ, journalist Camille Desmoulins was arguably one of the most dangerous and cunning players in the political arena of revolutionary France. His work is a clear synthesis of linguistic and political theory but what, precisely, made it so effective? When his work is regarded collectively, a theme emerges wherein Desmoulins uses language designed to categorically perpetuate suspicion. Using the principles of lexical semantics, rhetoric, and connotation...
Show moreAn exacting command of language in his employ, journalist Camille Desmoulins was arguably one of the most dangerous and cunning players in the political arena of revolutionary France. His work is a clear synthesis of linguistic and political theory but what, precisely, made it so effective? When his work is regarded collectively, a theme emerges wherein Desmoulins uses language designed to categorically perpetuate suspicion. Using the principles of lexical semantics, rhetoric, and connotation, this project seeks to examine the semantic undercurrents of Desmoulins’s works as they relate specifically to the public perception of suspicion, and to define the linguistic parameters within which he operated. An analysis of selected examples will demonstrate how the evocative language speaks to the author’s acute cognizance of his audience and his talent for inflaming the collective unrest through the use of tropes; specifically dehumanization, personification, and the neologism brissoter. Additionally, a feature analysis of nouns and verbs drawn from a sample of Desmoulins’s work further identifies tropes and atypical semantic forms and argues that, through his linguistic manipulation, he was able to sow suspicion among the mercurial Third Estate; both against the monarchy and the ultra-radical Republic.
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Date Issued
2017
PURL
http://purl.flvc.org/fau/fd/FAUIR000379
Format
Document (PDF)
Punctuated Identities In Contemporary Italian Cinema
Title
Punctuated Identities In Contemporary Italian Cinema.
Creator
Iadevaia, Vincenza, Serra, Haria, Guneratne, Anthony, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of Languages, Linguistic and Comparative Literature
Abstract/Description
At a time of major political disruption in Italy, this dissertation aims to explore the landscape of contemporary Italian Cinema in connection with the nation’s new demographic trends and social configurations. Focusing on a selected, inherently representative group of filmmakers, the current study proposes a new form of film theory that sees the emergence and recognition of multi-ethnic filmmaking in a hitherto largely monocultural context as an indicator of a profound cultural...
Show moreAt a time of major political disruption in Italy, this dissertation aims to explore the landscape of contemporary Italian Cinema in connection with the nation’s new demographic trends and social configurations. Focusing on a selected, inherently representative group of filmmakers, the current study proposes a new form of film theory that sees the emergence and recognition of multi-ethnic filmmaking in a hitherto largely monocultural context as an indicator of a profound cultural transformation rather than a mere aesthetic tendency. The critical terminology I propose, “punctuated identitties,” document the characteristics of contemporary filmmakers, since they cannot be easily defined under the categories established by previous critical vocabularies. While these multi-ethnic filmmakers are part of a larger trend in European filmmaking as a whole, and hence constitute a case study of the evolution of a particular trend within individual national cinemas, my aim is to show how their punctuated identities complicate and color the Italian mediascape, and perhaps add a pluralistic dimension to the most recent chapter in the story of one of the most influential national cinemas. The filmmakers analyzed are selected according to specific elements and not on any categorization as first-and-second-generation immigrants. The present analysis includes two immigrants who have consciously chosen Italy as their homeland (Ferzan Özpetek and Jonas Carpignano), a migrant other who rejects nationality (Laura Halilovic), a political exile who relishes a certain sense of freedom in his Italian sojourn (Fariborz Kamkari), and a naturalized son of immigrants (Suranga Katugampala). All move in a fluid and conceptual space that creates a new path inside the traditional domain of national cinema, establishing the validity of others’s points of views and proving that coexistence can enrich even established and influential art forms.
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Date Issued
2019
PURL
http://purl.flvc.org/fau/fd/FA00013219
Subject Headings
Cinema, Motion pictures, Italian, Contemporary filmmakers, Motion picture producers and directors--Italy
Format
Document (PDF)