{"title":"Genèse du texte court : la figure dans les Fragments d'un discours amoureux de R. Barthes","authors":"S. Pétillon","doi":"10.3406/IGRAM.2009.4002","DOIUrl":"https://doi.org/10.3406/IGRAM.2009.4002","url":null,"abstract":"","PeriodicalId":38986,"journal":{"name":"Information Grammaticale","volume":"120 1","pages":"3-8"},"PeriodicalIF":0.0,"publicationDate":"2009-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69809466","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research is a study based on a corpus of spontaneous conversation in French L2 between two young advanced Persian speaking learners. A constructive analysis allows us to bring to light the structural and intonative differences with spoken French called “standard” as it is defined in the “Grammaire de l’intonation��� by Morel and Danon-Boileau (1998) which constitutes the theoretical frame of our work. It thus results from our analysis of the constituents of the oral paragraphs that the most relevant differences live at first in the structure of the introduction; for every constituent, both learners use a more restricted and less varied number of linguistic means that the LN. The introduction has in the majority of cases a structure syntaxically connected to the rheme and the constituents which compose it are only very rarely juxtaposed. Therefore, the introduction presents in most cases a rather flat intonation in finale. We note however impressive differences between both speakers; with one displaying more ease than the other in the production of non condensed introductions. The most important difference in the use of rhemes concerns the quasiabsence of rhemes including two pronominalised objects. We also noticed the nearly complete absence of the post-rheme, as well as the absence of the specific punctuation markers of spoken French. It stands out from the analysis of the intonative specificities of our Persian speaking learners in their production in French L2, that the duration or the elongation of the final syllable is the most striking indication and would be connected to the influence of the intonation of the Persian, their mother tongue.
{"title":"Propriétés intonatives du français parlé par des jeunes apprenantes ayant le persan comme langue maternelle : étude de cas","authors":"Sédigheh Baniahmad","doi":"10.3406/IGRAM.2009.4055","DOIUrl":"https://doi.org/10.3406/IGRAM.2009.4055","url":null,"abstract":"This research is a study based on a corpus of spontaneous conversation in French L2 between two young advanced Persian speaking learners. A constructive analysis allows us to bring to light the structural and intonative differences with spoken French called “standard” as it is defined in the “Grammaire de l’intonation��� by Morel and Danon-Boileau (1998) which constitutes the theoretical frame of our work. It thus results from our analysis of the constituents of the oral paragraphs that the most relevant differences live at first in the structure of the introduction; for every constituent, both learners use a more restricted and less varied number of linguistic means that the LN. The introduction has in the majority of cases a structure syntaxically connected to the rheme and the constituents which compose it are only very rarely juxtaposed. Therefore, the introduction presents in most cases a rather flat intonation in finale. We note however impressive differences between both speakers; with one displaying more ease than the other in the production of non condensed introductions. The most important difference in the use of rhemes concerns the quasiabsence of rhemes including two pronominalised objects. We also noticed the nearly complete absence of the post-rheme, as well as the absence of the specific punctuation markers of spoken French. It stands out from the analysis of the intonative specificities of our Persian speaking learners in their production in French L2, that the duration or the elongation of the final syllable is the most striking indication and would be connected to the influence of the intonation of the Persian, their mother tongue.","PeriodicalId":38986,"journal":{"name":"Information Grammaticale","volume":"122 1","pages":"55-58"},"PeriodicalIF":0.0,"publicationDate":"2009-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69809693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Our thesis offers a study of the procedures of cohesion and hierarchization in oral French, on the basis of a corpus of three speakers (two females and one male, all of them in their thirties and living in Ile-de-France, the Paris Metropolitan area) who recorded themselves in several situations of their everyday life. The statistical study of a perception test of some extracts of the corpus has enabled us to build hypotheses about the clues used by lambda individuals to cut and to link words when perceiving the speech they hear. An analysis of the whole of the corpus was then carried out integrating both qualitative and quantitative aspects. That analysis was based on the Morel & Danon- Boileau (1998, 2003) hypotheses on the structure of the intonative paragraph and on the management of dialogue on the one hand, and on the other hand Charolles’ works (1997, 2005) on the value and impact of the connecting words and the framing adverbials. As far as the intonative paragraph is concerned, the quantitative study of the constitutive elements of the preambles as well as the different types of rhema and post-rhema allowed precise results that had been given by previous studies to underline the recurrent rules of distribution and the frequency of the marks that were observed, but also to put an emphasis on specificities linked to the situations and individual variations of the speakers in our corpus. On another hand, the research on the impact of the connecting and the framing words has helped us extract an original textual unit with a larger impact than that of the intonative paragraph: we called it the “episode”. It is articulated in “phases” whose cohesion is ensured by the continuity of the referential pronouns (personal or relative pronouns), and whose limits are marked by punctuants that are specific to oral language, among which the marks of the listener’s attention to the speech being heard are included. At the end of our research, we were eventually able to list the general clues of hierarchization and of cohesion that are independent from the situation (linking words, punctuants, personal and relative pronouns, frames, detachments) and to find and determine the specificities related to the different genres of oral interaction (narration, professional dialogue, informal conversation).
{"title":"Cohésion et hiérarchisation des unités intonatives et textuelles dans l'oral spontané en français : constantes et variations dans un corpus de 3 locuteurs de 30 ans","authors":"Samia Bouzouita","doi":"10.3406/IGRAM.2009.4069","DOIUrl":"https://doi.org/10.3406/IGRAM.2009.4069","url":null,"abstract":"Our thesis offers a study of the procedures of cohesion and hierarchization in oral French, on the basis of a corpus of three speakers (two females and one male, all of them in their thirties and living in Ile-de-France, the Paris Metropolitan area) who recorded themselves in several situations of their everyday life. The statistical study of a perception test of some extracts of the corpus has enabled us to build hypotheses about the clues used by lambda individuals to cut and to link words when perceiving the speech they hear. An analysis of the whole of the corpus was then carried out integrating both qualitative and quantitative aspects. That analysis was based on the Morel & Danon- Boileau (1998, 2003) hypotheses on the structure of the intonative paragraph and on the management of dialogue on the one hand, and on the other hand Charolles’ works (1997, 2005) on the value and impact of the connecting words and the framing adverbials. As far as the intonative paragraph is concerned, the quantitative study of the constitutive elements of the preambles as well as the different types of rhema and post-rhema allowed precise results that had been given by previous studies to underline the recurrent rules of distribution and the frequency of the marks that were observed, but also to put an emphasis on specificities linked to the situations and individual variations of the speakers in our corpus. On another hand, the research on the impact of the connecting and the framing words has helped us extract an original textual unit with a larger impact than that of the intonative paragraph: we called it the “episode”. It is articulated in “phases” whose cohesion is ensured by the continuity of the referential pronouns (personal or relative pronouns), and whose limits are marked by punctuants that are specific to oral language, among which the marks of the listener’s attention to the speech being heard are included. At the end of our research, we were eventually able to list the general clues of hierarchization and of cohesion that are independent from the situation (linking words, punctuants, personal and relative pronouns, frames, detachments) and to find and determine the specificities related to the different genres of oral interaction (narration, professional dialogue, informal conversation).","PeriodicalId":38986,"journal":{"name":"Information Grammaticale","volume":"123 1","pages":"54-56"},"PeriodicalIF":0.0,"publicationDate":"2009-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69809973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Du morphème à la signification : le flou définitionnel des catégories linguistiques","authors":"S. Mejri","doi":"10.3406/IGRAM.2009.4048","DOIUrl":"https://doi.org/10.3406/IGRAM.2009.4048","url":null,"abstract":"","PeriodicalId":38986,"journal":{"name":"Information Grammaticale","volume":"122 1","pages":"4-9"},"PeriodicalIF":0.0,"publicationDate":"2009-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69810071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Voix en écho dans \"Hernani\"","authors":"J. Wulf","doi":"10.3406/IGRAM.2009.4011","DOIUrl":"https://doi.org/10.3406/IGRAM.2009.4011","url":null,"abstract":"","PeriodicalId":38986,"journal":{"name":"Information Grammaticale","volume":"120 1","pages":"46-51"},"PeriodicalIF":0.0,"publicationDate":"2009-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69810119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Marot peut etre considere comme le vrai pere du lyrisme classique francais. Il est tout autant a l'origine des formes standards de la strophe que du sonnet regulier. Sa pratique s'explique globalement par l'apparition d'une contrainte simple : le principe de reduction structurelle. On notera cependant que ce principe ne s'applique pas a l'octave du sonnet, auquel Marot n'a pas ose toucher. Les strophes classiques gardent de leurs parentes medievales l'enchainement des modules. L'enchainement est un phenomene absolument necessaire a l'existence du module classique. Celui-ce ne peut s'en passer. Il convient simplement de l'identifier comme tel et de reconnaitre ses origines. Par contre, dans les strophes classiques, deux choses disparaissent : 1. l'enchainement entre strophes. Les quatrains du sonnet presentent encore une exception a cette disparition. La terza rima pourrait etre percue comme une autre exception ; mais les unites (tercets) enchainees dans celle-ci, structurellement, ressemblent a des modules plutot qu'a des strophes. 2. l'enchainement retrograde disparait partout, et finira par ne plus etre compris. Les modules des strophes (abba) ne seront plus analyses par enchainement retrograde, mais simplement comme strophes classiques inverties. Tout au plus peut-on continuer a parler d'enchainement retrograde a la frontiere des quatrains constitutifs de l'octave du sonnet. Ces changements ont pour consequence une grande simplicite formelle, qui etait sans doute l'effet recherche par Marot. Cette simplicite visait sans doute a faciliter la tâche du compositeur qui mettrait les psaumes en musique, et peut-etre a favoriser la diffusion du chant religieux chez les gens du peuple. Mais on peut penser que la generalisation des formes inventees par Marot a finalement eu pour consequence la revendication de cette simplicite comme valeur phare de l'esthetique classique. Apres Marot, resteront a inventer : le dizain classique, la preeminence de l'alexandrin, la systematisation de l'alternance en genre, et la preference pour les strophes masculines. Bien peu de choses, au regard de ce qu'il a lui-meme accompli.
{"title":"\" Au origines du lyrisme classique français : strophe et sonnet chez Marot \"","authors":"Jean-Louis Aroui","doi":"10.3406/IGRAM.2009.4017","DOIUrl":"https://doi.org/10.3406/IGRAM.2009.4017","url":null,"abstract":"Marot peut etre considere comme le vrai pere du lyrisme classique francais. Il est tout autant a l'origine des formes standards de la strophe que du sonnet regulier. Sa pratique s'explique globalement par l'apparition d'une contrainte simple : le principe de reduction structurelle. On notera cependant que ce principe ne s'applique pas a l'octave du sonnet, auquel Marot n'a pas ose toucher. Les strophes classiques gardent de leurs parentes medievales l'enchainement des modules. L'enchainement est un phenomene absolument necessaire a l'existence du module classique. Celui-ce ne peut s'en passer. Il convient simplement de l'identifier comme tel et de reconnaitre ses origines. Par contre, dans les strophes classiques, deux choses disparaissent : 1. l'enchainement entre strophes. Les quatrains du sonnet presentent encore une exception a cette disparition. La terza rima pourrait etre percue comme une autre exception ; mais les unites (tercets) enchainees dans celle-ci, structurellement, ressemblent a des modules plutot qu'a des strophes. 2. l'enchainement retrograde disparait partout, et finira par ne plus etre compris. Les modules des strophes (abba) ne seront plus analyses par enchainement retrograde, mais simplement comme strophes classiques inverties. Tout au plus peut-on continuer a parler d'enchainement retrograde a la frontiere des quatrains constitutifs de l'octave du sonnet. Ces changements ont pour consequence une grande simplicite formelle, qui etait sans doute l'effet recherche par Marot. Cette simplicite visait sans doute a faciliter la tâche du compositeur qui mettrait les psaumes en musique, et peut-etre a favoriser la diffusion du chant religieux chez les gens du peuple. Mais on peut penser que la generalisation des formes inventees par Marot a finalement eu pour consequence la revendication de cette simplicite comme valeur phare de l'esthetique classique. Apres Marot, resteront a inventer : le dizain classique, la preeminence de l'alexandrin, la systematisation de l'alternance en genre, et la preference pour les strophes masculines. Bien peu de choses, au regard de ce qu'il a lui-meme accompli.","PeriodicalId":38986,"journal":{"name":"Information Grammaticale","volume":"121 1","pages":"9-14"},"PeriodicalIF":0.0,"publicationDate":"2009-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69809672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dans une perspective d’analyse du discours articulee a la langue, nous proposons de caracteriser un geste discursif de lecture et d’intelligibilite au fondement duquel est inscrit un principe de distance a l’egard du sens et de la verite. Le discours-objet ainsi envisage se pose comme un ordre de contrainte pesant sur les possibles de langue et comme lieu d’exercice du sens. Le discours apparait alors comme un ordre contraignant et organisationnel pour le savoir. A partir des notions de « rationalite » et de « diagramme » (G. Deleuze, M. Foucault), nous proposons de considerer un ordre du discours non pas uniquement comme « savoir » mais comme « savoir-pouvoir ». Le discours, comme diagramme social, permet de penser la specificite socio-historique des formes de relation de pouvoir, la maniere par laquelle le discours decrit un reel specifique : un ordre de contrainte pour la rationalite du savoir, des pratiques sociales et des relations de pouvoir. Nous appliquons ce geste de lecture a un corpus de reglements interieurs d’entreprises francaises du XIXe siecle ; les analyses centrees autour du fonctionnement discursif de la majuscule nous permettent de determiner des objets et des fonctions rationnelles pour le diagramme de discipline.
{"title":"Le discours comme diagramme social. Approche discursive du dire d'autorité : les règlements d'atelier en France au XIXe siècle","authors":"V. Guigue","doi":"10.3406/IGRAM.2009.4067","DOIUrl":"https://doi.org/10.3406/IGRAM.2009.4067","url":null,"abstract":"Dans une perspective d’analyse du discours articulee a la langue, nous proposons de caracteriser un geste discursif de lecture et d’intelligibilite au fondement duquel est inscrit un principe de distance a l’egard du sens et de la verite. Le discours-objet ainsi envisage se pose comme un ordre de contrainte pesant sur les possibles de langue et comme lieu d’exercice du sens. Le discours apparait alors comme un ordre contraignant et organisationnel pour le savoir. A partir des notions de « rationalite » et de « diagramme » (G. Deleuze, M. Foucault), nous proposons de considerer un ordre du discours non pas uniquement comme « savoir » mais comme « savoir-pouvoir ». Le discours, comme diagramme social, permet de penser la specificite socio-historique des formes de relation de pouvoir, la maniere par laquelle le discours decrit un reel specifique : un ordre de contrainte pour la rationalite du savoir, des pratiques sociales et des relations de pouvoir. Nous appliquons ce geste de lecture a un corpus de reglements interieurs d’entreprises francaises du XIXe siecle ; les analyses centrees autour du fonctionnement discursif de la majuscule nous permettent de determiner des objets et des fonctions rationnelles pour le diagramme de discipline.","PeriodicalId":38986,"journal":{"name":"Information Grammaticale","volume":"123 1","pages":"49-50"},"PeriodicalIF":0.0,"publicationDate":"2009-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69809932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Contredire le vers : l'alexandrin de Roussel en Seine","authors":"Jean-François Jeandillou","doi":"10.3406/IGRAM.2009.4024","DOIUrl":"https://doi.org/10.3406/IGRAM.2009.4024","url":null,"abstract":"","PeriodicalId":38986,"journal":{"name":"Information Grammaticale","volume":"121 1","pages":"53-58"},"PeriodicalIF":0.0,"publicationDate":"2009-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69810064","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Le Dictionnaire philosophique de Voltaire est un dictionnaire : quelques remarques","authors":"R. Éluerd","doi":"10.3406/IGRAM.2009.4010","DOIUrl":"https://doi.org/10.3406/IGRAM.2009.4010","url":null,"abstract":"","PeriodicalId":38986,"journal":{"name":"Information Grammaticale","volume":"120 1","pages":"43-45"},"PeriodicalIF":0.0,"publicationDate":"2009-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69810104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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