Self-writing analysis in literature is usually centered in modern and contemporary writers. The subject is hardly approached from medieval authors point of view, principally from literature written by women in the Middle Ages. Based on The mirror of simple souls, by Marguerite Porete, this paper aims at thinking about the mystical literature written by women as self writing. Studies on self writing such as Foucault (1992), Lejeune (1994), Klinger (2007), Gomes (2004) and Dalcastagné (2005) are the basis for the analysis. As to the mystic as non-place Certeau (2015) is the basis. Other studies on Marguerite Porete, self writing, the mystic and literature written by women are also considered. The Mirror of simple souls is read here without prejudice, as a text written by a woman in the Middle Ages and considered, among other possible interpretations, as a writing of herself and as her non-place; after all, it is the place from where the French writer speaks.

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Problèmes de linguistique générale

Marguerite Porete: a mística como escrita de si

We often say that music speaks. Our conception of voice seems to be inseparable from the assumption that someone is addressing something to someone. “Hearing voices,” on the other hand, in itself is disquieting. After all, to whom are they speaking—or is there anyone speaking? There is one place, however, where we can feel free to indulge in the idea that everything that is spoken is spoken to us: the opera house, where we may surrender ourselves to the music as it enters the scene and addresses the audience. Once upon a time—the time of favole in musica (fables in music)—this was all new and marvelous, as, for example, when Alessandro Striggio’s and Claudio Monteverdi’s L’Orfeo was first performed for members of the Accademia degli Invaghiti on February 24, 1607, in Mantua’s Palazzo Ducale. Commenting on the novelty of the event, Carlo Magno at the Mantuan court, later ambassador for the Gonzagas in Rome, France, and Spain, wrote: “Tomorrow evening the Most Serene Lord the Prince is to sponsor a [play]. . . . It should be most unusual, as all the interlocutors are to sing their parts.” Thus L’Orfeo presented the beginning of a new style and a new genre, stile recitativo in genere rappresentativo—with Orpheus himself as its spokesman. The question then is: spokesman for what? Or for whom? In other words, and in the work’s own words: Chi parla? “The composer,” answers Edward T. Cone. When we listen to music, we listen to the composer’s voice, according to Cone’s renowned study. Even if we do not accept Cone’s uncomplicated assumption of a direct communication between virtual composer and a more or less real audience, his argument still reminds us of opera’s distinctive character: someone is singing to us. Thus Cone approaches opera from the point of view of the audience, before any theoretical construction gets in the way. We might say that he takes as his point

Monteverdi's Voices: The Construction of Subjectivity

Developed by the New London Group in 1996 and based on the premise of hybridity, the concept of multiliteracies is deeply embedded in the paradigmatic changes brought about in languages by the advent and expansion of technology and virtualisation. In the same line as multiliteracies, new perspectives in language sciences converge towards complexity, multimodality and related concepts that question and redefine traditional and monolithic conceptions of the written text as the only admissible form of linguistic manifestation. In this chapter, we explore multiliteracies by drawing parallels between language studies and the teaching and learning of science, in particular physics. We investigate the extent to which physics trainee teachers display multiliteracy skills in their teaching–learning experience, focussing on their conceptual knowledge and understanding of the physics concept of free fall. Linguistic communication, action, visualisation and physics conceptual understanding form the components of the multiliteracy competencies. The trainee teachers manifested limited multiliteracy competencies as they experienced difficulties to articulate and to represent their ideas about physics concepts. We argue for an experience-driven, multimodal and multilliteracies-based conception of physics that goes beyond text-centrism. The task of the trainee teacher is not limited to only exploit, navigate and negotiate with multiliterate competencies, but also to solicit diverse linguistic repertoires in the (co)construction of knowledge through active meaning-making.

Multiliteracies—New London Group

Cet article s’interroge sur la maniere dont les manuels scolaires destines a l’ecole primaire rendent compte des regles qui regissent la langue francaise, sur le type d’exemples sur lesquels ils s’appuient et sur les tâches demandees aux eleves. Les manuels oscillent entre une visee prescriptive, ou la grammaire est vue comme un ensemble de regles externes qu’il convient de faire acquerir, et une visee descriptive, ou la grammaire devient un outil de description des pratiques langagieres. Cette oscillation reflete la double mission dont ils sont investis : outiller les eleves pour analyser la langue et les discours mais aussi les doter d’un bagage de regles qui leur permettent de controler la conformite de leurs propres enonces. On observe donc un double trajet, inductif (des discours aux regles) et deductif (des regles aux enonces), qui correspond le plus souvent a un materiau dedouble : des enonces attestes, par exemple des textes litteraires ou fonctionnels, pour l’induction ; des exemples dits “de grammaire”, enonces courts forges pour les besoins de l’apprentissage, pour la deduction.
L’analyse porte sur deux series de manuels destines a l’ecole primaire et parus entre 1996 a 2009. Les notions examinees sont les pronoms et la phrase. 
L’article tente d’apporter des reponse aux questionnements suivants : 
-Comment est presentee la langue dans son expression la plus restreinte, a propos de laquelle les Instructions Officielles parlent d’etude de la langue, c’est-a-dire la conjugaison, l’orthographe et le lexique ? 
-Dans quelle mesure son enseignement s’ancre-t-il dans des pratiques langagieres ? 
-Ces pratiques sont-elles differenciees du point de vue de l’oral vs l’ecrit ou les deux canaux se confondent-ils dans les « exemples de grammaire » donnes par les manuels ?

https://hal.archives-ouvertes.fr/hal-01306940/document

Oralité et écriture dans des manuels de grammaire pour l’école primaire

To consider theatre as semiotic practice is, initially at least, to refer to the gestural, visual or auditory communication which accompanies discursive communication on the stage. From this perspective, the term semiotic practices is used to designate all semiotic processes other than "verbal practices," which, when considered from the point of view of language, are basically semantic practices. Yet, I hope to demonstrate that theatre can be a "semiotic practice" at the level of speech when language becomes discourse. And the specificity of theatrical discourse, of discourse inscribed in dialogue, is its inherent capacity to articulate a semiotic dimension in perhaps much the same way as do rituals and ceremonies. My purpose, therefore, is to attempt to define theatricality at the level of the production of verbal discourse. However, it is important not to isolate verbal discourse from other "pragmatic'" processes which function syncretically, but rather to examine the discursive operation when the verba...

Theatre as Semiotic Practice

Communication using symbols (such as words) structured with grammar

Problèmes de linguistique générale

Citations

Marguerite Porete: a mística como escrita de si

Monteverdi's Voices: The Construction of Subjectivity

Multiliteracies—New London Group

Oralité et écriture dans des manuels de grammaire pour l’école primaire

Theatre as Semiotic Practice

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