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Le bruissement de la langue

01 Jan 1993-
About: The article was published on 1993-01-01 and is currently open access. It has received 185 citations till now.
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Journal ArticleDOI
01 Jun 2009
TL;DR: In this paper, the authors analyse the attribution of certain literary prizes, among which the Nobel prize, to the purpose of literary studies by analysing the attribution in the form of the preface to Mademoiselle de Maupin's timeless novel, which is still far from being out of date.
Abstract: The reflection on the purpose of beauty “l’utilite du beau“, to which Theophile Gautier has contributed in a most exquisite way in the text that Literary History that we are accustomed to identify as the preface to Mademoiselle de Maupin’s timeless novel, which is still far from being out of date. In fact, this question has long ago surpassed the specific context of the reflection on romantic aesthetics which has provoked the most heated discussions. As long as literature constitutes, in itself, the domain of a complex deflection on it’s purpose, as an aesthetic object, and about the purpose of a certain vision of the world and of certain political options towards the development of societies, we intend to approach, in this paper the question of the purpose of literary studies by analysing the attribution of certain literary prizes, among which the Nobel prize. Keywords: Legitimation of Literature, Value, Utility, Nobel Lectures

1 citations

Journal ArticleDOI
TL;DR: The authors derriere la satire du docteur Slop, a genre d'intervention for l’aide a laccouchement du lecteur and de la lectrice that propose Tristram Shandy, fonde sur un modele interactif qui met en œuvre leur participation volontaire and guide leur interpretation.
Abstract: La naissance difficile de Tristram est au centre de la metaphore proliferante de l’accouchement dans Tristram Shandy, livre qui, par la mise en vedette de son statut d’objet, invite le lecteur a reflechir aux processus de la creation fictionnelle. Trois naissances se deroulent dans Tristram Shandy : celle de Tristram, celle du texte qui le porte et celle du lecteur, un lecteur auquel Sterne comptait bien apporter tous ses soins, dans un souci culturel autant que commercial. Derriere la satire du docteur Slop, c’est un nouveau genre d’intervention pour l’aide a l’accouchement du lecteur et de la lectrice que propose Tristram Shandy, fonde sur un modele interactif qui met en œuvre leur participation volontaire et guide leur interpretation. Le critique, parfois fustige, est en realite l’allie du narrateur pour faire naitre le lecteur independant, par la methode socratique d’accouchement des esprits. C’est ainsi que Tristram se survit a lui-meme par les generations de lecteurs qu’il engendre.

1 citations

Journal ArticleDOI
TL;DR: The Transfiguration of Ted Blodgett and Jacques Brault as discussed by the authors is one of the most important works in the history of poetry, and it has been widely read.
Abstract: La poesie? ... Que signifie ce mot? --Darwish, La trace du papillon Ted Blodgett and Jacques Brault began their careers by writing elegantly crafted, jewel-like poems. In the 1980s, they shifted toward an "open field" poetics, but though their verse is "free" in that they vary the beat, like jazz, from line to line, they have remained formalists in the way of the modernists--taking the risks and making the changes that are prompted by necessity in the treacherous city of language. The poem is for them, as it was for Wallace Stevens, the "cry of its occasion" ("Snow" 73). Even so, it has not been often enough remarked that they have been practicing, in addition to radical sentiments, radical juxtapositions. The open forms in which they have worked require that they develop strategies, invent new rules for holding closure at bay. Still, always attentive to modes of representation, they have apprenticed themselves to the (im)possible; what they deliver can only be provisional: a dream of a common language, a cartography of silence. It is in this sense that their signature piece, Transfiguration, ought to be read. It is addressed to a reader who has little time in which to read, who finds it hard to make out the words in the failing light, yet can take in the whole mural. In the process, they are shown to have meant something other than what they wrote. But this is to accord meaning to language, and words rain down upon them, telling each other into the distance, where flowers a vast forest of poetic diction, concentrating particularly on those lines that resist interpretation. This is not a mere fable; Transfiguration has a robust ecological conversation with the reader, the ecstasy of discovery, the rioting jungle of abstruse thought, the exhilaration of writing. If Auden disowned "We must love one another or die" (88), Blodgett/Brault can still re-jig "transfiguration," though we may not honour their wish: we have not Auden's flair. (2) Here, a set of questions is well-nigh if we are to understand the interlinguistic and dialogic breadth of Transfiguration. First, what of poetry as anti-philosophy, and are Blodgett/Brault poets tout court or poet-thinkers? After all, in their language verbal signs behave not merely literally but also metaphorically, as code and pattern, giving the pleasure of staccato interruption and of broken-off fragment. When they speak of their love of words, do they also have a sense of poetry as a "structure of feeling"? How about technique: does it involve their stance toward life, the environment, feeling in memory, a whole creative effort to bring the meaning of the poetic experience alive? Second, can they render their diverse habitus, and what continuity is there across the bridge, or chasm, of metamorphosis? Put differently, can we at all read Transfiguration a l'Anglaise and/or a la Quebecoise, as it were, without losing what Roland Barthes called "les parametres d'angularite," by which he meant the proximity of the four angles of the poem--"as it were" the crucial semi-ironic qualifier (45)? Can one demonstrate the anglicite and/or quebecite of the poem without giving in too much to cliches? What is poetry a la Blodgett/Brault, whose persistent interrogation of the foundational and thus (im)possible act of "giving" makes us want to probe behind the reassuring existence (and etymology) of all phenomenal givens? Without wishing to answer all the questions raised here, I want to state my intention, and indeed, method: to read Blodgett/Brault not in a linear but variational, jazzy way. Let me explain: I set out to read Transfiguration not in the context of collaborative writing (plenty has been done in that vein), but so as to trace the different ways of seeing the given and the made. Transfiguration is self-confessedly a poem simultaneously of real life and ecopoetry. It shows that, however unwelcome it sometimes seems to have been, postmodernism did wash up in brackish deposits here and there and everywhere, and that it mated with nativist traditions to produce unpredictable, often ecological, and sometimes remarkably hardy off-springs. …

1 citations

Journal Article
TL;DR: In this article, the authors present and analyse the results of a study of conceptions of possible of higher education undergraduates in the capital and in regional universities, in order to address the notions and constructs used in sociology and psychology as indicators of reflexive and motivational constituents of self-identification.
Abstract: Professional self­identification is traditionally taken almost exclusively as a process of choice at the stage of graduation from secondary school. However one may argue that personal significance of choice of a university undergraduate is not less significant than the secondary school graduates’ choice. An additional tension to the professional choice of the undergraduate university students is caused by its connection to the tasks of their life choices. Consequently theoretical analysis of professional self-identification must address the notions and constructs which are used in sociology and psychology as indicators of reflexive and motivational constituents of self-identification. The article presents and analyzes the results of a study of conceptions of possible of higher education undergraduates in the capital and in regional universities.

1 citations

01 Jan 2014
TL;DR: There is a way of treating each single unit of language adding spontaneously an additional significance to what the term would have if it was used in a colloquial conversation or in a scientific discussion.
Abstract: There is something called “art” that distinguishes some existent objects from all the other objects. Why do these particular objects, touching our senses, present themselves as “different”?It exists a way of “treating” each single unit of language adding spontaneously an additional significance to what the term would have if it was used “in a colloquial conversation or in a scientific discussion” (Schutz 1996). When we are in front of a complex concept, symbols are manipulated in such a way that they evoke a variety of meanings, a polysemy that “wants” to be ambiguous (Griswold 1997).

1 citations