Le rêve du roi Flualis : mise en texte et mise en image d'enjeux épiques et hagiographiques dans le Roman de Merlin

L'illustration de la plupart des manuscrits de la Suite Vulgate met l'accent sur l'intervention prophétique de Merlin et sur l'accomplissement des désastres qu'il annonce au roi de Jérusalem Flualis, replaçant l'épisode dans une série de passages où Merlin fait la démonstration de ses pouvoirs surnaturels et de sa capacité à interpréter les songes. Pourtant, dans un petit groupe d'ouvrages, l'illustration se focalise sur la conversion ultime de Flualis et de sa femme, insistant sur le caractère exemplaire et édifiant d'un épisode qui propose une résolution des relations entre païens et chrétiens différente de celles habituellement mises en scène dans l'univers à coloration épique de la continuation.

Cognitive representation of colour in bilinguals: the case of Greek blues

A number of recent studies demonstrate that bilinguals with languages that differ in grammatical and lexical categories may shift their cognitive representation of those categories towards that of monolingual speakers of their second language. The current paper extended that investigation to the domain of colour in Greek–English bilinguals with different levels of bilingualism, and English monolinguals. Greek differentiates the blue region of colour space into a darker shade called ble and a lighter shade called ghalazio. Results showed a semantic shift of category prototypes with level of bilingualism and acculturation, while the way bilinguals judged the perceptual similarity between within- and cross-category stimulus pairs depended strongly on the availability of the relevant colour terms in semantic memory, and the amount of time spent in the L2-speaking country. These results suggest that cognition is tightly linked to semantic memory for specific linguistic categories, and to cultural immersion in the L2-speaking country.

Archaeological evidence for a previously unrecognised Roman town near the Sea of Galilee

Fieldwalking in the Ginosar valley recorded an extensive spread of Late Hellenistic, Roman-period and Byzantine ceramics, tesserae, glass shards, and stone vessel fragments. Architectural stonework in modern Migdal, on the hilltop immediately west of this, seems, in part, to derive from the same site, which extended into the area of the present town. This suggests an urban centre immediately adjacent to, but probably separate from, the Roman-period site usually identified asMagdala, providing a context for the first-century boat currently displayed in the Yigdal Allon museum. The settlement may be identified with one of the un-located toponyms of the coast.