PLUME
Year:2008 | Volume:3 | Issue:6|Papers Count:8

The present investigation intends to present the essential efforts of a human being, all along a novel, to oppose death threats. A task which lends itself perfectly to a structural analysis at the narrative level, perpetrated through the narrator/actor couple. The work which is put under the critical eye is entitled Mort à Crédit, one of the best works of the 20th century by one of the French great writers called Louis Ferdinand Céline. Since the question of death, as shows it clearly the title of the book, is the major concern of the novel; the present narrative study also attempts to demonstrate the way in which this subject has been treated. The dislocation of the problem reveals the core of the conflict which is the time and consequently the question of time or to better say the control of time which constitutes the problematic of this research. A study undertaken in a structural discipline colored by the narratology of Jappe Lintvelt, attests well that on the fluctuation between a discursive and romantic system or on the methodical slips of a homodiegetic narrator towards his heterodiegetic counterpart and, in addition, on the plurivocalism or to better say the romantic dialogism, the book has only one aim: pushing back the idea of death.

Vis-a-vis the time which passes, Man reacts. These reactions make poetic images, fill up art and literature. With his Nourritures Terrestres, André Gide is a significant example of such art. Prisoner of the cyclic time of the vegetable life, seeking at the same time the infinite celestial and a terrestrial paradise, the author of Nourritures Terrestres has resorts to the “tricks” “harmonizing opposites” while benefiting from a “dialectical mode” within a temporal fluidity. It is about a duration close to the concept of Bergson, which, being prolonged in the space, gives rise to an appeasing totality where even the sense of the time of the absolute is driven. It is inside an utopian desert where all that will be realized. In this perspective, one may ask: “what is the type of time that Gide will find in the desert?” Step by step, we will go, within the framework of the present article, to meet the various cycles of the daily time which is repeated, in the infinite desert space where the grains of sand gleam the totality of a life released from the closure of time. These cycles lead to one which forms the unit of the world and opens in a duration which is the sense of real-time, itself. This duration is always present and dominates all the abstract cycles of the momentary time.

Each novel has its own strategies for reading and built its own reader. The study of the narrator and his narrataire in La Vie mode emploi (VME) by Georges Perec will enable us to determine if the novel is a story which tells about itself, with an anonymous and almost absent narrator or if on the contrary, having a "determined figurative entity”, the narrator is quite present and because of this presence, he builds his own recipient. The frequent usage of the pronoun us with the values that we know about it, indicates the particular interest of the narrator (and through him, the author-Perec) to integrate the narrataire (and through him, the real reader) in the narration.

This article aims to better understand the impact of globalization and the linguistic ideologies on identity construction as well as on the language practices, by defining what the identity of a Francophone (he or she) constitutes. I examine, in particular, the processes of identification versus the discussions about the plurilingualism and the citizenship through the voice of five young people, from an Italian origin, living in the urban, global and multicultural space of Toronto (Canada); who are currently university students, carrying out or having carried out French studies, and, who are also pursuing some trainings for becoming French teachers. This work proposes a critical reflection on the identity construction of the Canadian Frenchspeakers in and stresses the importance of new discursive spaces in which it is possible to manage the tensions in the majority/minority relationships, and also to allow the emergence of interlinked identities, which creates the 124 Plume 6 possibility of bringing into question the methods of getting among the francophones in Canada or elsewhere.

This article proposes to seize the concept of the acquaintance and the knowledge of human being in the Cartesian thought and that of Molla Sadra. For Molla Sadra, the cognitive subject gives the form to the outside world, but that through an existential alliance, justified by the principles of the authenticity of being and the existential union. In Cartesian thought, this union will take place through an intellectual intimacy, a linguistic community which gives unity and universality to all the sciences of the world. But one may ask how a common language is possible if this is true that the world and the spirit have the same base, the same principle as cause? For Descartes, one needs a method which offers him the comprehensible reality and allows him to identify the signs and the syntax of the world. But what is this common language, how to learn it and discover its rules?

In the normative grammar, there have been a lot said on the inversion of the subject and the verb, after a certain number of linguistic elements, in particular connectors of French language. However, this concept still remains a new subject which is finely manageable in the sense that no systematic research were undertaken until today in order to show what effect the use or the nonuse of this phenomenon can have on the meaning of a sentence; this is a paramount question in teaching/learning of French language for Iranians, for whom the inversion is absent in their linguistic system; except in poetry. Based on a vast corpus, this article thoroughly approaches the possibilities of inversion after the two connectors aussi (also) and ainsi (as well) in French and their translation into Persian in order to show the variety of meanings produced after this linguistic process occurs in French language. The results of this research can be also useful in the field of translation where any displacement of linguistic units can convey variety of meanings, having also an impact on the comprehension.

From the great movement of Italian and, then, Western Renaissance, it is of use to retain, in the first analysis, the passion for all the aspects of the Greek antiquity, literarily (and even literally), registered in the stone. In fact, 15th and 16th centuries legitimately appropriate, regarding the importance of the event, the idea of renewed genesis on a Western scale. For this reason, it can seem improper to apply the “controlled appellation” of “renaissance” to the French theatre on the first half of the 20th century. It is, however, a form of renaissance which, through Giraudoux and others like Cocteau, appropriates once more, after centuries of forgetfulness, certain figures of the ancient theatre, by parodying them, in accordance with the outburst of post- industrial modernity. Despite all, it would be wrong if one just retain the parodic dimension from a second modern reading of the old myths. Throughout this article and through the character of the Sphinx in La machine infernale by Cocteau, we will note that beyond the parodic dimension, there has been, during this halfcentury and through various amalgams, certain re-creation of the original theatrical figures, irreducible to simple typical parodies.