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International audience; The present work aims to develop a text summarisation system for financial texts with a focus on the fluidity of the target language. Linguistic analysis shows that the process of writing summaries should take into account not only terminological and collocational extraction, but also a range of linguistic material referred to here as the "support lexicon", that plays an important role in the cognitive organisation of the field. On this basis, this paper highlights the relevance of pre-training the CamemBERT model on a French financial dataset to extend its domainspecific vocabulary and fine-tuning it on extractive summarisation. We then evaluate the impact of textual data augmentation, improving the performance of our extractive text summarisation model by up to 6%-11%.

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International audience; Breton tensed verbs show a synthetic/analytic alternation (I.know vs. to.know I.do), that is not conditioned by their semantic or aspectual structure but by their syntactic environment, namely word order. Such a paradigm of verb-doubling poses a strong case against iconicity, because knowing where a verb can double requires full information about the entire derivation of the sentence. The sentence is correct if and only if the tensed element is not at the left edge of the sentence. The infinitive form of the analytic construction prevents the tensed element from occurring in the most left-edge position. This paper proposes that the analytic structure (to.know I.do) responds to the same trigger as expletive insertion (expl I.know). I claim that analytic tense formation is a last resort strategy that forms the equivalent of an expletive by excorporation of the verbal root out of the tensed complex head. The excorporated lexical verb appears fronted as an infinitive form by default. The tensed auxiliary is either realized as a dummy 'do' auxiliary (to.know I.do), or, for an idiosyncratic list of verbs, as the tensed reiteration of the excorporated verb itself (do.ubling; to.know I.know).

International audience; The last phase of the nineteenth-century China was in a state of dramatic political instability, caused both by foreign aggression and internal troubles. The fall of the Qing dynasty seemed more and more likely, and the presence of the foreign (people, goods, ideas) on the imperial soil aroused confl icting reactions: shame and pride, the desire to emulate and the desire to rekindle "traditional" culture(s), as well as the evidence of the necessity of rapid modernization, at least in the technical fi eld. Stretched between these overlapping poles, cinema as a technical development and as a new form of entertainment appeared very quickly as a formidable way to get to know the West, as well as a medium to be appropriated by local standards. Early movies made by the Lumière Company were travelling to China, and it was easy to understand the clamor made by the depiction of contemporary Europe. La sortie des usines Lumière à Lyon (August and Louis Lumière, 1895), for example, is a manifestation of a scientifi c accomplishment of the West (a movie) and at the same time is showing where this new object was made (the camera factory): spectators could see men and women coming out of a modern (soon to be Fordist) industry, some of them riding bicycles. In The Last Emperor (1987) Bertolucci poetizes the seduction of the newly imported (foreign) innovation of locomotion. Audiences could be in awe of the epitome of the industrialization of Europe via an astonishing product of this progress, the movie projector. This scientifi c curiosity is displayed as an attraction: movies are shown in theatres, tea houses, expositions, and slowly contribute to the shaping of the fast-growing eastern metropolis via the building of ad hoc modern cinema theatres. The local public showed a desire to appropriate the representational device, linking it to the shadow puppetry that they used to appreciate. The debate is still ongoing to clarify how much the cultural appreciation of puppet theatre has been a source of inspiration for the adoption of the term yingxi fi rst, and dianying later. The former merges the "shadow (ying)" with the "spectacle (xi)," and the latter is a word that conjures ideas of electricity (therefore modernity) and the theatrical/traditional visual apparatus. As Emi-lie Yueh-yu Yeh states, the fi rst fi lm magazine used the title The Motion Picture Review ; 1 yet, in an article published in the very same review, she cautions readers in remembering that "Central to these dominant historiographical discourses lies the yingxi concept and its literal English translation 'shadow play.' " Scholars of Chinese fi lm history, in both China and the West, have adopted the ideas of yingxi and its translated twin "shadow play" to frame the reception of cinema in late 15 MASTERPIECES OF EARLY CINEMA Corrado Neri 15031-1823d-1Pass-r03.indd 205

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International audience; Cet article analyse l’éblouissante invention métaphorique de Nietzsche dans la Naissance de la Tragédie pour décrire les pulsions et les principes apolliniens et dionysiens : c’est en partie à cause de cet apparat métaphorique créatif, mais débridé et parfois confus que ses lecteurs et interprètes ont souvent privilégié l’opposition et même la polarité entre les deux dieux plutôt que leur conciliation, ce que Nietzsche appelle leur « mariage » et création, à savoir la tragédie. Cette préférence a été renforcée par la conception romantique qui voyait, et voit encore, la tragédie grecque comme un conflit entre des forces inégales. Cet article analyse la critique récente de la tragédie qui, implicitement ou explicitement, se réfère à ces thèmes nietzschéen, à savoir celle de Dodds, de Carlo Diano, de l’école ritualiste, et enfin de Nicole Loraux avec son explicite retour à Nietzsche.

Identifying the Breton lays in Middle English as a coherent corpus is a challenge for several reasons because they are rather difficult to distinguish from the romance genre. Very tellingly, in her contribution to the Cambridge History of Medieval English Literature dedicated to romance, Rosalind Field does not consider these lays as a separate group; rather, she inscribes most of them within the romance genre. In her analysis, there is no such subcategory as “Middle English Breton lays,” but instead short romances that occasionally resort to “the procedures of the Breton lai,” among which she mentions Sir Orfeo and Sir Launfal.1 Although she refers to features she deems characteristic of the Breton lais, such as “the formal brevity and the allure of Celtic magic,” she regards them as a tradition more than as a prescribed genre.2 My contention is precisely that in this particular case, generic markers consist of a well-informed inscription within a tradition of composition. Roughly speaking, the diversity of approaches— thematic, structural, or cultural3—yields two groups of poems, which vary depending on the critic. On the one hand, one may consider the lays that are undoubtedly of Breton descent, namely Lay Le Freine and Sir Launfal, both translated from lays by Marie de France. Sir Launfal is a palimpsest in its own right, as Colette Stevanovitch’s essay in this volume demonstrates.

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Nicomachus was born in the town of Gerasa in the Roman province of Syria, and lived around the middle of the second century after Christ. Keywords: cultural history; science