This is a R&D Paper. It describes an analysis coming from a research project about opinion measurement and monitoring on the Internet. This research is realized within "Paragraphe" laboratory, in partnership with the market research institute Harris Interactive (CIFRE grant beginning July 2010). The purpose of the study was to define CRM possibilities. The targets of the study were self-employed workers and very small businesses. The discourses analysis is linked to a qualitative study. It turns around three types of discourses: brands, journalists and clients’ discourses. In the brand discourses analysis we benchmarked brand websites belonging to several businesses. In this first step, we tried to identify the most used words and promises by brands to the target we were studying. For that benchmark, we downloaded "Professionals" sections of the websites. Clients’ discourses analysis is based on opened answers coming from satisfaction questionnaires. The questions we are studying have been asked after a call to a hot line or after a technician intervention. Journalists’ discourses analysis is based on articles, published on information websites specialized in Harris Interactive's client sector. These websites were chosen because we considered them to be representative of information sources, which the target could consult.

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Le bruissement de la langue

A discourse analysis methodology based on semantic principles - an application to brands, journalists and consumers discourses

Pierre Bayard is a polarizing figure in contemporary French criticism: on the one hand, he is brilliant, innovative, and daring; on the other hand, he seems to delight in deception and sleight of hand, particularly in the way that he revisits, and arguably transvalorizes, theoretical discourse reminiscent, inter alia , of poststructuralism and deconstruction. In this article, we wish to reveal the double-sidedness of Bayard’s new detective criticism in order to see how his new solutions to classic crime texts carry within themselves clues to their own undoing as well as alternative solutions that can be deemed to have been sown consciously or unconsciously into the weave of Bayard’s analysis. This is the irony of Bayard’s criticism: it references the work by reverting to a study of the text while keeping both, work and text, in view and, effectively, by being both, that is, by exposing the textuality of canonical literary works and presenting his criticism as transparently readable, even as “easy reading,” he offers his ideas as works, which the reader can read as such but can also re read, a la Pierre Bayard, as text.

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Pierre Bayard and the Ironies of Detective Criticism: From Text Back to Work

This paper represents an attempt to systematize the various presumptions concerning the author of a certain literary work of art. At the same time, it re-evaluates the standard and schematized terms regarding literature as a whole, the essence of literary language, the existence of literary genre, etc. A theoretical possibility of this kind of re-evaluation is the re-examination of the phenomenon called literature, as well as the investigation of its boundaries, that cannot be confined to the Western centric hypothesis of literary language, or the existence of literary genres. Our postmodern epoch has confirmed the necessity of certain extension of the approach to what is called literature, as well as its field of study. Today, it is almost impossible to frame the discrete elements, or the factors that acknowledge the thesis of the independent position of literature in the social process. On the other hand, this kind of relativization of terms has led to the need for more differentiated and more detailed assumption of a certain minimum of elements or aspects, that differentiate literature and artistic creations overall from the other non-artistic phenomena (or the ones that cannot claim this kind of attribute). This kind of necessity takes us back to the re-evaluation of the established notions and categories, since without their existence it is not possible to scientifically analyze literature and literary process overall (even if that analysis is being developed through cultural terms). Hence, the re-investigation of modern and postmodern critical analyses is one of the possible methods to evaluate and examine the key concepts regarding the author and its work. At the same time, the analysis of the problem of authorship does not only concern literary theory, although it poses this question as the most dominant one, since its main preoccupation is the search for meaning of literary work, as well as the way this meaning is being diffracted in various instances of the text. On the other hand, an essential part of this process is the necessity to reveal the person that created this meaning. It is undoubtedly true that this so-called person can in fact represent a shadow of the various unconfirmed, but present voices of a certain epoch or cultural region, from which this man or woman, signed as an author of the text or work, comes from. The proper investigation of the discursive identity called literary work thus requires an exploration of numerous discrete nuances, through which different social and historical accents come into being. However, this does not mean that the critic is a person that is in constant search of lost meanings. In fact, literary theory, spreading the field of its analyses, has provoked the unstoppable interest of its researchers and their necessary investigation of other social sciences and humanities, as well as their different approaches to the broad field, where cultural phenomena come into being.

Additional excerpts

https://repository.ukim.mk:443/bitstream/20.500.12188/6697/1/%d0%9f%d1%80%d0%be%d0%b1%d0%bb%d0%b5%d0%bc%d0%be%d1%82%20%d0%bd%d0%b0%20%d0%b0%d0%b2%d1%82%d0%be%d1%80%d1%81%d1%82%d0%b2%d0%be%d1%82%d0%be%20%28%d0%b0%d0%b2%d1%82%d0%be%d1%80%d0%be%d1%82%20%d0%b8%20%d0%bb%d0%b8%d1%82%d0%b5%d1%80%d0%b0%d1%82%d1%83%d1%80%d0%bd%d0%be%d1%82%d0%be%20%d0%b4%d0%b5%d0%bb%d0%be%29.pdf

The problem of authorship (author and the literary work of art)

Jacques the fatalist, lying with wounded knee on a poor peasant's bed, overhears his host and hostess in amorous embrace, then in testy disagreement over the charity she has shown him in spite of their poverty. All the more reason, protests the wife, not to produce a new childand she is sure to become pregnant because "cela n'ajamais manque quand l'oreille me demange apres, et j'y sens une demangeaison comme jamais . . ." (Jacques le fataliste, 26). "Ton oreille ne sait ce qu'elle dit," says he-but in spite of his objection the metaphor lending speech to the ear eroticizes it, as she fully realizes: "Ne me touche pas! Laisse la mon oreille!" If, as the editors gravely note, the erotic connotations of the ear are a constant of libertine fictions, I think we have here one of the most inventive and beguiling versions of the sexual ear. The language itself conveys, by its rhythms and its strategies, the action it purports to hide in words that go on "behind" the paper, just asJacques lies on the other side of a wall of paper. For we can easily read in the text how the couple take their pleasure three times, in Jacques's hearing. The first has already happened during "une assez courte pause" (25), before the dispute. 1 The second (after a short mor-

Dialogues of the Deaf: The Failure of Consolation in Les Liaisons dangereuses

Il n’y a pas de retablissement sans relation a un milieu, mixte d’institutions et de nature pour nous les humains.

Le bruissement de la langue

Citations

A discourse analysis methodology based on semantic principles - an application to brands, journalists and consumers discourses

Pierre Bayard and the Ironies of Detective Criticism: From Text Back to Work

The problem of authorship (author and the literary work of art)

Dialogues of the Deaf: The Failure of Consolation in Les Liaisons dangereuses

Le rétablissement: restitution, équilibre ou consentement à la perte?

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