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La discussion théorique, visant à circonscrire avec plus de netteté le concept cible, est présente non seulement dans l’article d’ouverture qui revient sur la conception guillaumienne de l’expressivité, mais aussi dans l’ensemble des autres articles qui s’attachent à donner une (des) définition(s) opératoire(s) de la notion permettant, d’une part, de tracer une ligne de partage entre elle et les notions proches, et d’autre part de fournir une base méthodologique sûre lorsqu’il s’agit d’analyser des phénomènes langagiers touchant à des niveaux aussi divers que la morphologie lexicale, le lexique ou l’analyse du discours. Les études de cas portent sur cinq langues indoeuropéennes (anglais, allemand, espagnol, français et russe) et ont été regroupées en trois parties thématiques.

Discourse analysis. --- Expression in literature. --- Linguistics --- Discourse grammar --- Text grammar --- Semantics --- Semiotics

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American women novelists of the late nineteenth and early twentieth centuries registered a call for a new sexual freedom, Dale Bauer contends. By creating a lexicon of ""sex expression,"" many authors explored sexuality as part of a discourse about women's needs rather than confining it to the realm of sentiments, where it had been relegated (if broached at all) by earlier writers. This new rhetoric of sexuality enabled critical conversations about who had sex, when in life they had it, and how it signified.Whether liberating or repressive, sexuality became a potential force for female

Expression in literature. --- Language and sex. --- Sex in literature. --- American fiction --- Sex and language --- Sex --- History and criticism. --- Women authors

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Authorship --- Emotions in literature. --- English drama --- English fiction --- English literature --- Expression in literature. --- Self in literature. --- Theater --- Women in the theater. --- History --- History and criticism. --- Women authors --- History and criticism

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"Gender and emotion in eighteenth-century Britain : raging women and crying men investigates emotional excess from the perspectives of performance studies, gender studies, cultural studies. For the seventeenth and eighteenth centuries in Britain, "ravaging women" and crying men" illustrate how gender affects and audience's willingness to accept emotional performances. Female rage and male despair were both associated with the stage where their excessiveness was singularly allowed - if often also criticized. When these emotions appeared in prose works, they were often portrayed as exaggerated, manipulative performances. In this monograph, Anne F. Widmayer argues that female rage and male despair are both precipitated by power inequities. Female rage defies gender inequality, whereas male weeping reinforces gender ranking. Women's rage assumes men's power; men's grief reveals their feminine weakness. Angry women and grieving men were thus viewed as equally monstrous because they upset contemporary gender roles. Employing the figures of Medea, Odysseus, and Achilles, Widmayer surprisingly delineates how stoicism and sentimentalism coexisted for much of the eighteenth century. As the far more taboo emotion, women's rage had to be suppressed in order to maintain a distinction between masculinity and femininity. To sometimes cry like women did not significantly lessen men's privilege, but to allow angry women to act like men risked endangering the gendered power structure of the eighteenth century."--Provided by the publisher.

History of civilization --- History of the United Kingdom and Ireland --- anno 1700-1799 --- Emotions in art --- Expression in literature --- Sex differences in literature --- Performing arts --- Women in literature --- Men in literature --- English prose literature --- English drama --- Audiences --- History and criticism --- Emotions in art. --- English drama. --- English prose literature. --- Expression in literature. --- Men in literature. --- Sex differences in literature. --- Women in literature. --- History and criticism. --- Audiences. --- 1700-1799 --- Great Britain

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"Immatériel, le plaisir littéraire n'en est pas moins une réalité qui caractérise une époque. Le style est partie intégrante du message porté par le texte, peut-être tout spécialement au Moyen Âge dans la langue de haute culture qu'est alors le latin. Pour le comprendre, il convient de joindre le vers à la prose, non seulement sous la forme intermédiaire de la poésie rythmique, ancêtre de notre propre système poétique, mais en éclairant l'une par l'autre l'écriture artistique en prose et en vers. Cette unité vient de leur commune musicalité, fondée sur une même recherche de la densité expressive. En prose comme en vers domine le goût de la symétrie, des rythmes structurants, des formes répétitives soulignées par des sonorités qui martèlent pour l'oreille des analogies ou des oppositions de sens. C'est une esthétique de l'évidence obtenue par les sons. Jusqu'à la transformation de la phrase sous l'influence scolastique au mir siècle, la plupart des auteurs pensaient avec leurs oreilles, et cherchaient à emporter l'adhésion de leurs lecteurs par la force émotive, et donc signifiante, de la musique des mots."--P. [4] of cover.

Latin poetry, Medieval and modern --- Latin prose literature, Medieval and modern --- Latin language, Medieval and modern --- Expression in literature --- Poésie latine médiévale et moderne --- Prose latine médiévale et moderne --- Latin médiéval et moderne (Langue) --- Expression dans la littérature --- History and criticism. --- Style. --- Histoire et critique --- Style