PLUME
Year:2007 | Volume:3 | Issue:5|Papers Count:9

More than one critic has been involved in the study of the quotations in the Usage of Life (La Vie mode d'emploi, referred to as the VME) by Georges Perec. The work of Bernard Magné on the meta- text analysis of Perec constitutes a base and has influenced many studies. He, himself, invents the term “impli-citations” (imply-quotations) to indicate the quotations inserted and dissimulated in the novel of Perec. What especially interests us in our analysis, are the enunciative transformations that undergo the targeted text (the VME) and the original texts in a way that the new text becomes isotopic and structurally coherent and leveled. The point of view can explain us how the insertion of autographic texts (coming from other works of Perec) or allographic texts (coming from other authors rather than Perec) and of another syntactic and semantic nature (and consequently having a different argumentative and pragmatic aim) transforms the quoting - text and how the quoting - author organizes his own text to accommodate the new text in order to hide the anomaly (enunciative, syntactic, etc) due to this transfer. We would like to know how a text of the Finding Time Again of Proust, with a homodiegetic nature can be inserted in a text like the VME which has a heterodiegetic nature.

The character is one of the bases of the novel whose creation is strongly dependent on the sociological constraints and the cultural filters. Evolving as the human nature changes, its statute and its function undergo the modifications of various social concepts. Each era thus calls its own character. In the present time, where the human spirit is mutilated by the collapse of the moral values, the wound of the wars and the atrocities made and with the domination of the consumer society and the imposition of the stereotypes, it is obvious that the mass of Balzac’s characters would hardly be appropriate. Today’s characters are floating units, not entirely definite. Their representation is based on the principle of the incompleteness and fragmentation. We found in the romantic characters of the New French Novel an explicit illustration of this destabilized statute. The same anguish and same frustrations prevail the spirit of the characters of Golshiri, split up their unit and dedicate them to failure. We propose, in this study, to find the correspondences in the treatment of the character by neo-novelists and also by Golshiri, who are convinced of the universality of the human sensitivity independently of time and the place where the human being lives.

Any character in the novel has a denomination. The actual value of this name is not always obvious. In the same way, the character implies, exactly at his first appearance in the novel, a certain impression on the reader whose impact remains to be determined. Admittedly, the authors allot various roles to each one of their romantic characters in the various passages of a work. However, the first impression of the character remains always most important because it could largely influence the reader. Through a study on the characters of Souvachoun by Simine Daneshvar, we will seek, in this article, to determine, from one hand, the possible correspondences which exist between the name and the function of the character, and his first occurrence in the novel and his role, on the other hand.

The literature will not be able to act without the philosopher since it is not possible to make a serious research on certain essential concepts and notions in literature without taking account of their evolution in philosophy. As a base for research on the notion of human freedom in the work of the writers and the poets we present a critical and analytical study of the same concept among philosophers, particularly by Descartes and Spinoza. For Descartes the willingness is absolute and indivisible since, according to him, choosing always means picking up one or the other of two opposites, this is the nature even of the free willingness. From Descartes’ absolute and obvious freedom of the willingness, we arrive at the concept of freedom determinism for Spinoza; a concept which is rather an attitude of wise vis–a-vis to determinism. A detailed analysis of the notion of human freedom and its evolution in the thought and work of Spinoza compared to the same concept in Descartes’ work is here studied.

From a “textual” concept of writing, the “coherence" is seen as the horizon waiting in the process of drafting. Once this objective recognized, one rejects-in the contrastive study of the sentence and the text-the “quantitative” variable in order not to be interested in none but the "textuality" as a point of the divergence between the sentence and the text. Since the lack of the textuality manifests even among French and native learners, it is necessary to give a paramount place to this notion in the teaching-training of writing in FLE. In the present work, we are interested to know more about problems of Iranian learners in written French and in the mistakes which are the cause of a textual rupture for them.

The work of Andre Malraux has a universal and European aim. This interest for Europe relates also to the painting of Picasso. If the writer has never written anything on the painter, he writes the Obsidian Head one year after his death, like a homage to his talent. The painter and the writer always had stormy relationships, oscillating between misunderstandings and aggravation. But in spite of unquestionable dissensions, Spain becomes an echo in the “Anti- memories” at the same time as the work of Picasso. This is why Malraux gives his voice to the painter for better exposing his own designs on painting. Thus, Picasso illustrates with wonder the ideas of the Imaginary Museum of the writer and takes it as a pretext for the discussion on Art.

The expression “Family romance” indicates, at the same time, a phantasm and a rebuild of the story of a character. But the family romance cannot be only analyzed like the fantastical activity of a character. In fact, the integrality of his sentiments must be felt with regard to the history of the individual himself and that of his family. This article, based on the study of the function of the daydream in the framework of the family romance in the autobiographical story, as it is practiced by Annie Ernaux, tries to analyze this form of unwritten imagination, in a purely psychic order which is presented in the form of a novel written by the author in his childhood or before becoming a writer. The analysis will lead us in the second part to show how a change of class of Ernaux involves psychological conflicts for him which causes, in his case, some interior conflicts. These conflicts are characterized in particular by the development of a fantastical activity, in the form of the family romance, in the novelist-child, who constitutes a mechanism of defense against social inferiority and an average privileged person to rebuild his identity.