Recherches en Langue et Littérature Françaises
Year:2020 | Volume:13 | Issue:24|Papers Count:11

French abstract: Depuis toujours la mise en application des animaux en tant que symbole reste un fait habituel universel dans les oeuvres litté raires et artistiques. Sans doute, chaque pays, ayant son propre tré sor culturel et langagier, saisit une image particuliè re de tout animal selon l’ Histoire, les mythes, la religion, les arché types, les expé riences vé cues, etc. Certains animaux jouent un rô le plus marquant que d’ autres. Cependant, lors de la traduction, cet é cart entre les points de vue des nations poserait souvent des problè mes qui varient d’ une langue à l’ autre en fonction des caracté ristiques de chaque langue. Au cours de cette recherche, on tend à confirmer cette diffé rence et son impact né gligé sur le lecteur de la traduction, ainsi on va montrer les difficulté s de restitution de ces symboles et leurs sens implicites en langue source. Quant à la traduction des symboles, la tâ che du traducteur sera doublé e: d’ une part, il joue le rô le de porte-parole de la langue source, qui devrait porter sa particularité à la connaissance des autres nations et d’ autre part, il est obligé de donner une signification tant dé taillé e dans des formats tels que note de bas de page, image, etc. English abstract: CCORDING to the Bible, in the History of Creation God created the animals before us on the Earth, on the fifth day. That is why they have a mysterious substance to discover. They are always found in myths, legends, fables, anecdotes, religions and sacred books-Bible, Koran, Torah-, literature and masterpieces, folklore, proverbs, expressions. . . Note that they are not a mere motive, but a whole world is hiding behind them. In other words, they convey an image which sometimes remains special across nations. Considering animals, which is the subject of this research, it is concluded that the represent human and social types since antiquity and probably before either by their supposed place in the animal hierarchy (the lion and in general the predators, represent the strength and power), their behavior (the fox = the cunning, the monkey, by his grimaces, evokes a jester of court), or even their relationships with the man (the dog symbolizes submission, the donkey is a beast of sum often despised. . . ). If we consider some animals as innocent, and others as devil, this belief is rooted in our conscience; we do not accept friendly wolves with no bad intentions. Although the source of the symbol has never been properly identified, there are speculations that they are rooted in the myths and beliefs of our predecessors, from ancient gods and false myths to behavioral and apparent similarities. We took the advantage of this tool, provided from history, religion, myth to folklore. The use of animal-centered symbols is one of the oldest and most common tools which is a global and important issue because there are hidden truths behind the meaning of some symbols. Since the mentality of the people about a subject differs over lands, the relationship between the symbol and its reference also differs across languages. Today with the globalization of nations, the exchange of different cultures and sciences can't be stopped. The bridge is not boundaries today, but translation. Translation is a new and specialized science. and translation of symbols is no exception. The main objective of the present study is investigating the essential difference between the French and Iranian vision for the choice of animal symbols, which shows the differences between the two nations and makes translation problematic. So how can we translate a harmful owl symbolizing death and ruin in French and vice versa? In general, how can animal symbols be translated? If we choose the same animal in another language, do all the connotations still remain? Or are we going to lose some sense? Our hypothesis is that most of the time, some portions of the meaning is lost in translation. And this is due to the difference of the mental image of the two nations for symbolic animals. To prove this claim, this paper examines two cases of animal names in Persian (Simorgh and Butterfly) and French (rat and rooster) and pays attention to the apparent and semantic features of the word among the people of that land and compares the image and the imagination of the origin and target language from a variety of historical, literary, linguistic, mythical, and other points of view.

French abstract: Guillaume Musso, en tant que romancier populaire du XXIe siè cle, offre dans chacun de ses romans une nouvelle repré sentation de la notion du temps. Dans sa cré ation romanesque, il ne respecte pas la liné arité du temps et pré sente assez souvent ce dernier de faç on onirique, ce qui est l’ une des causes de sa ré ussite chez le grand public, avide de surprise et de suspense. En plus, la position du narrateur et le mode par lequel il raconte l’ histoire sont singuliers dans leur genre. Tous ces é lé ments plongent les ré cits de Musso dans une ambiance mysté rieuse et é nigmatique qui tient le lecteur en haleine et qui ne le relâ che qu’ au dé nouement final. Le pré sent article vise à é tudier les plus importantes de ces caracté ristiques où le temps et ses diverses repré sentations constituent les principales composantes. English abstract: UILLAUME Musso, a contemporary French novelist, respects the rules of the popular novels trying to be liked and accepted by the public. One of these rules is to increase the suspense. To achieve this, in his works Musso approaches time in a different and sometimes unprecedented way. We, therefore, try to analyze the concept of time through the work of Guillaume Musso from different points of view. Beginning with a presentation of the ideas of great French and foreign thinkers on the concept of time, we will then study time as a major theme in all of Musso's novels; an attractive aspect of Musso’ s work that assures the reader's sympathy for what he reads is the change of time presented as an amalgamation of the present, the past and the future. Finally, the study of time from a narratological point of view and based on the ideas of modern critics like Genette constitutes the subject of the last part of this article. The notion of time has for long preoccupied the minds of thinkers of different periods of history. This shows the importance of this concept which can be considered as one of the essential concerns of man. For Plato, the course of time is punctuated by the celestial revolutions. To Aristotle, the study of time comes just after that of space. Time is nothing at all or it is very precarious and undecided. The past is gone and the future has not come yet. The present, limited between the past and the future, is reduced to a moment. Kant, in the Critique of Pure Reason suggests that time has an objective existence. According to what we can understand from Kant's thesis, time cannot be directly observed because it is properly invisible. Henri Bergson makes a distinction between time and duration. According to him, time is that of the observatory; it is measured instantly and it is objective. Duration is the individual’ s personal perception. The conceptions of time is, thus, quite numerous and quite diverse, and each writer uses his own method to represent it. To study the preponderant place of time in the work of Musso, one must first consider the date of the publication of his novels. The author respects a temporal rule to write his novels: a novel a year, released between January and June. It must be remembered here that Guillaume Musso is a best-seller writer, therefore, he is obliged to respect such rules. Among these rules, we focus more on those that affect the concept of time. Readers of popular literature normally look for an entertaining and easy to understand book. One way to meet this need is to use short descriptions in the context of short chapters. Mastering these rules, Musso writes funny novels often in a direct style, which can create a kind of sympathy between the reader and the character and thus facilitates the act of reading. The number of pages is important here and most of his novels contain less than 400 pages. Because the reader begins to feel tired beyond this number of pages. It seems that during his narration, the author always considers the time of the reading of his audience. In most of Musso's novels, time is labyrinthine. We see a hero disappointed and weak in front of his destiny. This hero is, thus, faced with an unequal conflict with time. The day is repeated three times and at the end of the first two, the hero wakes up from his nightmare (One day perhaps); a thirty-year-old man has encounters with himself at the age of sixty (Will you be there? ); there are connections between a man and a woman, when they are in two different years. The woman lives in 2010 and the man in 2011 (Tomorrow); a young man is condemned to disappear and to see only one day of each year (This very instant); a woman wakes up handcuffed to a man in Central Park while she was in Paris the day before until midnight and cannot understand how she could have traveled such a long distance in just a few hours. The hero of This very instant and that of Will you be there? time travel, while for Grace Costello of A mix-up in Heaven, time stands still: dead for ten years, she has now returned to save her daughter's life. However, she hasn't aged in these ten years; she is as young as she was when she died. In fact, the journey through time is most often made using an object: Matthew of Tomorrow contacts a woman through a used computer. In This very instant, Arthur's journey begins with the cursed room of an old mill. In all these novels, it is interesting to see the great effort of the protagonists to understand the puzzle of time and to solve it. The hero tries to repair his faults or to thwart the games of fate in order to save his own life or that of his loved ones. That is why time is getting more and more important. As an example, we can cite the case of Matthew, the hero of Tomorrow, who wants to save the life of his wife, Kate, with the help of Emma. One narration method frequently used by Musso is retrospection. Once the initial situation is exposed, the story progresses alternately between the present and the past of the characters. The characters in Mussoto novels return which helps the novel to be seen as a homogeneous whole is the return of the characters. It seems that he wants to show the flow of time that changed the heroes or the secondary characters. Considering narration speed, Central Park is considered as the slowest. According to Gerard Genette, we are dealing with a pause in the narrative. The story includes 24 hours of frenetic research in New York to find the truth in more than 400 pages. Whereas in other novels there are narrative ellipses: two initial pages of This very instant are allocated to the year 1971. But afterwards, the story is persists twenty years later in the spring of 1991. From the narratological point of view, One Day Perhaps is even more interesting. The hero, Ethan, lives three times through the exhausting events of the same day. The second prologue of this novel begins ten years after the first. Besides, the first chapter is dated October 31, 2007. The course of time between the second prologue and the first chapter is not clear but we can deduce that years have passed, because Ethan has now become rich and popular. In this chapter, the author's precision about time should be mentioned; it even quotes the seconds: 7: 59: 57, 7: 59: 58, 7: 59: 59, 8: 00. According to Genette, order is the relationship between the sequence of events in history and their arrangement in the story. Studying the temporal order of a story means comparing the order of arrangement of events or time segments in narrative discourse with the order of succession of these same events or time segments in history, as it is explicitly indicated by the story itself, or as it can be inferred indirect clues. One of the main features of detective novels is their non-compliancy with the linearity of time. Thus, the author presents an incident, most of the time a murder, then he resorts to analepse to give explanations and reach the outcome which is most often the recognition of the murderer. With regard to the frequency of events suggested by Genette, we can say that in majority of Musso's novels, we see a singular mode in which the narrator tells once what happened once. For other modes, the case of One day perhaps is worth mentioning in whic the novelist uses the repetitive mode. That is the reader reads the day-to-day events of Ethan Withaker three times, who is given the opportunity to fix his mistakes.

French abstract: Le monde actuel, marqué par le dé placement massif de populations et le dé veloppement des moyens de communication, met au jour l’ illusion d’ un monde sans frontiè res qui exige la redé finition de la notion d’ identité et de nation. De ce fait, ce monde transnational engendre une litté rature, caracté risé e par la repré sentation de l’ histoire de la vie des gens dé territorialisé s, à l’ identité hybride. La litté rature va ré vé ler l’ articulation des diffé rences culturelles, tout en né gociant ces diffé rences dans un tiers-espace: le lieu de l’ é nonciation. Cette recherche vise donc à montrer comment ce monde transnational se repré sente dans la litté rature mondiale, et comment les gens dé raciné s passent d’ une identité lié e à la nation et à la race à une identité hybride et mouvante. Dans cette perspective, l’ é tude de deux oeuvres de Dany Laferriè re, à savoir É roshima et Je suis un é crivain japonais, ré alisé e selon les thè ses postcoloniales d’ Homi Bhabha, nous a permis de montrer que l’ auteur cherche à ré vé ler son dé sir d’ ê tre quelqu’ un d’ autre et de vivre dans un nouveau monde dans lequel est possible la transformation de l’ ê tre, ou l’ appropriation d’ une nouvelle identité . En ré alité , Laferriè re pose, dans ces oeuvres, la question de l’ identité , y dé peint un monde transculturel et transnational, et y repré sente des personnages hybrides, chez qui l’ identité lié e au pays natal a pâ li, pour montrer ce dé sir d’ ê tre quelqu’ un d’ autre. English abstract: ODAY'S world is characterized by extensive human migration and spread of mass communication tools, a world that creates the illusion of a world without borders, and redefines the concept of identity and nationality. Accordingly, this transnational world creates a literature which is characterized by the life story representation of the homeless people, with a hybrid identity. This literature reveals the articulation between cultural differences through the negotiation and discussion of these differences in the third-space, the spoken space. The present research intends to show how this transnational world is represented in the world literature and how displaced people from their homeland cross the identity in relation with nationality and race and achieve a hybrid and variable identity. Accordingly, a study of two works by Dany Laferriè re: Eroshima and I am a Japanese writer (Je suis un é crivain japonais) was done based on the post-colonial thesis of Homi Bhabha. The founders of postcolonial theory, notably Homi Bhabha, offer "a theoretical perspective on hybridity" whose function is to study the cultural and historical hybridity of the postcolonial world. That said, Bhabha's postcolonial studies will help us to solve our problem. Also, it should be noted that there are several types of hybridity: cultural, spatio-temporal, identity, and finally paratextual. Hybridity is therefore proposed as the crossing of all borders. In writing, hybridity can also appear formally from the paratext, that is to say in the title or in the dedication. One of Laferriè re's works that constitutes the corpus of this work is entitled É roshima. This term is a suitcase word, that is to say from the composition of two words: “ Eros and Hiroshima” . Eros, referring to the idea of love and thus to the life drive, opposes Thanatos (the atomic bomb dropped on Hiroshima) as the death drive. These two impulses can consequently constitute a hybrid notion which includes both together, due to their coexistence. This coexistence is seen on a notional and formal level in the idea of Eroshima as the title of the book. At the same time, Eroshima begins with a significant dedication. This dedication establishes an explicit relationship between a famous actress and the first atomic bomb. It therefore carries within it the idea of death and life, or the idea of the coexistence of Eros and Thanatos, like the title of the book, which evokes the idea of eros, and war. In this way, the author closely mixing the theme of life with that of death by means of a dedication, and also of the suitcase word that is the title of the book depicts a hybrid world in which not only the boundaries between life and death, but also the boundaries between words intermingle. Laferriè re’ s works presented as examples of world literature well depict this world of cultural intersection, whose main themes are immigration, exile and identity. From the first page of Eroshima, the author makes us think of a new world stemming from racial and cultural intersection. For example, a dialogue, established by the narrator between himself and his reader, explains that the Japanese did not mix before neither with the Whites nor with the Blacks unlike today, since Hoki, in reality Japanese, coming from the Japanese father and North American mother, currently has a romantic relationship with a Negro. All of this depicts a world in which it is possible to cross different cultures and races. Our second novel fully fits into this perspective, since the narrator of I am a Japanese writer, explicitly declaring that he believes in a world without borders, where we destroy the established order, and where people get closer to each other at-beyond certain notions such as nationality or race. The narrator of this story, while giving North America as an example, exposes cultural hybridity. According to him, the United States is a country that results from the crossover between two cultures, namely American culture and that of the Yankees. It is therefore an example of cultural hybridity. At the same time, the Americanization of America has now transformed, according to the narrator, into the Japaneseization of America. In reality, since this articulation of cultural differences, which is achieved by the appropriation of desire of the other and thus by the modification of cultural signifiers, results in the Japaneseization of America and the Americanization of Japanese women, Americanized Japanese women can express themselves in the same way that Americans accept the hybridity of the world. The transcultural world gives birth to a new concept of people. In this way, the discourse of this borderless world proposes the concept of people as a double narrative movement linked to both the past and the present. As a result, the narrator of I am a Japanese writer, who is stuck between past and present, lives between two times, and wishes to keep both. The narrator's discourse therefore settles down through nostalgia for the past in the interim between time and place: the time and place of his childhood, evoked by Basho, and those of his contemporaneity as an immigrant, seen by the girl in the subway. This fusion of two temporal spheres finally allows him to settle in a hybrid temporality and suitable world in which he lives. In migratory situations, deterritorialized subjects, in the third-space, in accordance with the rules of the host country, produce a hybrid identity. In reality, being in relation to the other, the deterritorialized individual seeks a new identity which not only gives him the power to live in another time and another culture, but also allows him to be simultaneously himself and an other. Moreover, Bhabha explains that the immigrant, knowing his existence in relation to the Other, negotiates difference in third-space, and then reproduces a hybrid identity resulting from the articulation of differences, while assuming the image of the other in a partial way. As a result, the narrator of I am a Japanese writer when entering a Japanese restaurant compares Japanese culture with that of America. It also highlights the architectural difference of these two countries. Thus, the narrator as a subject, through his relationship to the Other and by means of a comparison, highlights the cultural and architectural difference of two different races and clearly underlines this importance of knowing the Other in the process of identification, the idea that others act as a mirror in which we see ourselves, and know ourselves. In this perspective, the character of the novel in I am a Japanese writer, wishing to be a Japanese writer, aims to be similar to the Japanese or to mimic them. This is exactly the case with the character of Eroshima. Also, the encounter with the Other arouses awareness of the inner lack, and the cleavage of the subject between his identity linked to his nation and the new identity adapted to the host country. To mask this lack and even partially resemble the Other, the individual therefore decides to accept the mask of the other. Accepting the mask of the other allows the character to reproduce himself like another. According to the character of I am a Japanese writer, when one does not return to his country of origin for a long time, under the effect of oblivion and distance, the links, which tie man to his origin, weaken. He forgets his past in order to identify himself with the inhabitants of the host country. Therefore, by substituting one cultural or identity signifier for another, the hybridization is completed, and hybrid identities appear. Dany Laferriè re, who has the experience of living in exile, represents well, in his works, this changing identity, whose examples are almost all the characters of Eroshima and those of I am a Japanese writer: including Hoki, the lover of the narrator of Eroshima, who is of Japanese father and North American mother, or the wife of Franç ois, friend of the narrator of I am a Japanese writer, being linked to two different nations, Japanese by his mother and Spanish by his dad. This study can help us to show that this author draw a transcultural and transnational world in his works, by introducing the question of identity and finally by representing hybrid characters, the characters that have lost their native identity, he tries to show his interest not only in the fact that he wants to be someone else but also his interest in living in a world where there is a possibility to convert the existence (becoming someone else), or to seize and obtain a new identity there.

Les deux notions fondamentales dans le domaine de la linguistique textuelle sont: la cohé sion et la cohé rence. Ces deux notions entrent à la fois dans la production du texte et dans son interpré tation. Alors, comment s’ organise un texte? Quelles sont les rè gles de la cohé rence textuelle? Quelle diffé rence y a-t-il entre la cohé rence et la cohé sion? Comment mieux interpré ter un texte à la lumiè re de ces rè gles? Telles sont les questions qui seront dé battues au cours de notre communication. Au fil de notre travail, nous allons nous ré fé rer à la conception de diffé rents linguistes tels que: Michel Charolles, Jacques Fontanille, Lita Lundquist et Dominique Maingueneau. En effet, on peut dire que la cohé rence est une condition textuelle qui né cessite des rapports logiques et non-contradictoires entre les diffé rentes phrases du texte, elle se rattache principalement à la signification gé né rale de la totalité du texte, selon Michel Charolles (cf. Introduction aux problè mes de la cohé rence des textes, 1978), quatre rè gles ré gissent cette proprié té du texte et qui sont: la rè gle de ré pé tition, la rè gle de la progression de l’ information, la rè gle de non-contradiction et la rè gle de relation. A son tour, La pé dagogue danoise Lita Lundquist distingue entre trois niveaux de cohé rence: un niveau thé matique, un niveau sé mantique et un niveau pragmatique. Dans cet article, nous essayerons de relier les trois niveaux de cohé rence é tablis par Lita Lundquist avec les quatre principes de la cohé rence é tablis par Michel Charolles pour mettre en place un modè le d’ analyse textuelle qui pourrait nous faciliter l’ interpré tation et la ré ception d’ un texte litté raire quel qu’ il soit. En ce qui concerne la cohé rence thé matique, nous allons é tudier les procé dé s de ré pé tition ainsi que les trois types de progression. Pour ce qui est de la cohé rence sé mantique, nous allons parler de la mé ta-rè gle de non-contradiction chez Michel Charolles. Quant à la cohé rence pragmatique, nous allons pré senter sa quatriè me rè gle de la cohé rence à savoir: la rè gle de relation.

French abstract: La migration est incontestablement, depuis longtemps, une ré alité complexe variant selon l'é poque et relè ve toujours d’ une actualité brû lante. Pré sente, de longue date, dans les é tudes sociales, elle a aussi trouvé une place privilé gié e dans les é tudes litté raires. Le thè me de la migration apparaî t sous diffé rentes formes dans la litté rature (l’ é criture de l’ exil, la diaspora, les situations postcoloniales, etc. ). Mais parmi toutes ces formes, la plus importante est celle qui se concentre sur la question de dualité de l’ identité . La pré sente é tude essaiera d'apporter des pré cisions sur cette problé matique, tout en approfondissant le problè me de la migration. Sarzamin-e Noutch de Keyvâ n Arzâ ghi constituant le contexte de cette é tude, nous permet d’ é tudier le phé nomè ne de la migration dans une optique extrê me-contemporaine. Une mé thode incontournable pour l’ analyse de ce phé nomè ne est la sociologie qui dé voile ses ré alité s caché es. Cette é tude sera ainsi basé e sur la thé orie de l’ ambivalence carnavalesque de Mikhaï l Bakhtine, qui est selon Pierre. V. Zima à l’ origine de la sociologie du texte romanesque, et sur les idé es d’ Abdelmalek Sayad, sociologue de l’ immigration. Et elle é tudiera aussi l’ effet psychologique de ce phé nomè ne grâ ce aux straté gies identitaires proposé es par Carmel Camilleri. English abstract: mIGRATION has undoubtedly been a complex reality for a long time, varying from time to time and is always a hot topic. Present for a long time in social studies, it has also found a privileged place in literary studies. The theme of migration appears in different forms in the literature (the writing of exile, the diaspora, postcolonial situations, etc. ). But among all these forms, the most important is that which focuses on the question of dual identity. This study will try to clarify this problem while deepening the problem of migration. Sarzamin-e Noutch by Keyvâ n Arzâ ghi constituting the context of this study, allows us to study the phenomenon of migration from an extreme contemporary perspective. Sarzamin-e Noutch (2012) draws the reader's attention to the socio-psychological dimension of voluntary migration through the life of a young emigrant couple, Arash and Sanam. The novel begins at Tehran airport where a young Iranian couple (Arash and Sanam) leave their country for the United States. The detailed description of immigrants with a strong tendency to leave their country shows us how literary work represents one of the cultural and identity crises of contemporary Iranian society. We will see that migration seems essential to them to live happily. This is what Michel Foucault said in his conference entitled Des espaces autres: He considers that "the current era is determined more by space than by time. " (Foucault, 2004, p. 3). According to Tartarovsky and Schwartz, there are three types of motivation to emigrate: 1. Preservation (search for security), 2. Personal development 3. Materialism (financial improvement). This study tries to understand what motivation is involved in immigrants from Sarzamin-e Noutch. We will establish an analysis of the novel at the same time on the theory of the carnival ambivalence of Mikhaï l Bakhtine, and on the ideas of Abdelmalek Sayad (1933-1998), proposed in his two works; 1. The double absence, from the illusions of the immigrant to the sufferings of the immigrant (1999), 2. Immigration or the paradoxes of otherness (1. The provisional illusion) (1991), to arrive to the answer of the following questions: Where does the trend towards emigration and expatriation from certain strata of Iranian society come from? How can a literary work participate in revealing the hidden sides of this social reality? And through the identity strategies proposed by Carmel Camilleri in his book entitled Identity Strategies, we will try to answer this question: What is the psychological effect of this phenomenon on immigrants? Indeed, "whatever the types of migration, we can say that there is certainly a strong relationship between mental health and migration. " (Collomb and Ayats, 1962, p. 574) Trying to establish a comparison between the behaviors of different immigrants, we will try to understand: why certain immigrants do not manage to adapt to the host society, while it is, they themselves who chose this migration without being forced to leave their country? The interpretation of Sarzamin-e Noutch as an extreme-contemporary persian novel on migration has clearly shown that, at the present time, young people all over the world, Iranians among others, are looking for a better life. This is how personal development and materialism are the motivations for their departure. So, they leave everything behind to go to a No man’ s land. This study showed that Sarzamin-e Noutch, far from being a fixed and restricted evocation in the genre of realistic literature, by talking about immigrant characters that have made the problem of immigration quite concrete. By highlighting the ambivalent situation of immigrants through Bakhtin's theory of carnival ambivalence, the present study has clearly highlighted the importance of the question of adaptation in the immigrant's journey. Indeed, most immigrants disappointed with their dreams, find themselves in-between. Culture shock and nostalgia provoke an emotional crisis in them. A comparison of the attitudes of immigrants has shown that the best way to escape this duality is to gain access to the language and culture of the new homeland. Language, the main tool of good communication, thus constitutes an identity component in migration literature. For a final touch, we can say that the interpretation of Sarzamin-e Noutch, using the identity strategies proposed by Camilleri, showed us that in the integration process, the immigrant instead of favoring one cultures and to question others, must make an effort to balance their own culture with the culture of the other. In this way, the evolution of identity becomes the index of dialogue between cultures which should complement each other instead of opposing each other.

French abstract: Ce travail s’ inté resse à l’ é tude des romans indochinois de Marguerite Duras, Un barrage contre le pacifique et L’ Amant, à la lumiè re des concepts sociologiques. En ré alité , l’ Indochine se ré é crit par la romanciè re comme une socié té fracturé e et divisé e suivant plusieurs dimensions. Les personnages se divisent, en effet, par les iné galité s à la fois sociales et raciales, selon les deux livres, et dans le cadre hé té rogè ne d’ Indochine. Ainsi les expé riences vé cues de la romanciè re à l’ extrê me Orient l’ amè nent-elles à lire et à é crire le social conformé ment au contexte d’ é mergence des deux livres à travers le prisme de son lieu de naissance. La poé tique et la politique s’ y nouent parfaitement pour souligner l’ univers durassien, et c’ est grâ ce à la thé orie de la pratique de Pierre Bourdieu, que ces deux ouvrages repré sentent la nature de l'action humaine, qu'elle soit individuelle ou collective, permettant une nouvelle lecture sociologique des deux romans à l’ appui des concepts scientifiques. English abstract: hUMAIN beings are always guided by implicit patterns of perception, representations and interpretation of the social world and its mechanisms. This is how the writer simulates different parts of real society by narrating and describing them in their particular way. The descriptions of places, objects, characters and their relationships or interactions, the sequences of actions and events represented by writers, indeed reflect their vision of the world. Moreover, the first step in this area is the novelist's attempt to anchor his story in a time and place, often real, for the sake of authenticity. This reminds us of Lukacs's idea that there is not just one realistic movement in the history of literature, but that this is a constant requirement of any novelist. The close link between society and the community goes back to Antiquity in the reflections of Plato and Aristotle. Since then, all types and genres of writing, even those apolitical, expose the concerns of writers and thinkers about the situation of human and his society: they are passing through the ideas of the classics and reproducing social and political facts until today. However, since the French Revolution and the Industrial Revolution, then with the appearance of sociology, debates on this kind of relationship have been consolidated, from the romantics who favor the rise of the historical novel to the writings of realists and naturalists with their interests brought to various social zones. Many parallel texts approach the frescoes for reproducing socio-political events. To illustrate, let us regard "Chronicle of the 19th century", revealing subtitle of The Red and the Black. As for the mitigated twentieth century, in particular with considering the two world wars, we find other works, such as the committed books of the existentialists or those which retrace reification in / by the New Roman or the New Theater, or even the Things by Georges Perec, work subtitled "A history of the sixties", for the description of the time. Thus, the novelists often bring the powerful knowledge on the social world and they approach some ethnological, sociological and historical works. Therefore, this is not uncommon to hear or read that novelists are also sociologists, even if the debate continues in this area. By the way, this work focuses on the study of two Indochinese novels by Marguerite Duras, The Sea Wall and The Lover, in the light of sociological concepts, without wanting to go very far and pretend or affirm that Duras sets the task of a sociologist. In reality, Indochina is redefined by the novelist as a fractured society divided into several dimensions of the human relationship in the literature. The characters are divided, in fact by social and racial inequalities, according to these two books and in the heterogeneous framework of Indochina. This study efforts to explain the new rise of all forms of human relations through their characters caught in the conflict of confrontations of two different cultures, the famous dichotomy: the East and the West, in the writings of Duras. The meeting of cultures often feeds misunderstandings and disagreements. Relations become more conflicted when they are woven between foreign-natives, women-men, as well as between two dichotomous cultures. The other hypothesis shows that sociology based on human relationships in particular on social classes would also open up to the cultural impacts of social phenomena; distinct lifestyles (not to say opposite) between Duras and the Indochinese, as well as between characters. Thus, the life experiences of the novelist in the Far East lead her to read and write the social in accordance with the context of emergence of these two books, through the prism of her birthplace. Contradictions between Asia and Europe, described by this western woman, favor the opportunity to study human relations in all their emotional, cultural, social and even racial complexity. Having regard to the reconciliation of both individual and social experiences, both European and Asian and in order to better examine the two books, we propose to present a social reading enriched with cultural clarifications. It will be an opportunity to better understand the confrontation between behaviors, classes, cultures, fairly distant lifestyles. Poetics and politics are perfectly linked to emphasize the Durasʼ s universe and it is in the light of Pierre Bourdieu's theory of practice that these two works represent the nature of human action. Whether individual or collective, allowing a new sociological reading of the two novels in support of scientific concepts. Pierre Bourdieu, French sociologist and anthropologist, distinguished himself by proposing an approach similar to genetic structuralism inspired by the theories of his predecessors such as Marx, Weber, Althusser, Durkheim, Lé vi-Strauss, Mauss, Merleau-Ponty, among others, that he calls "theory of practice". It is based on the study of fields, capital, habitus, social classes, distinction, etc. and its concepts seemed to us in this sense very conducive to the discovery of the social dimension of Durasʼ s writings. It should be noted that even if research on the Durasʼ s work is abundant, the previous studies hardly mention the sociological aspect of the novels even less from the Bourdieuʼ s point of view. At first this study attempts to represent the key concepts of Bourdieuʼ s theory, then highlights the important passages of Durasʼ s socio-literary experiences and her predilection for writing Indochina. Next, it will focus on the story of book The Sea Wall and the characteristics of its characters with taking advantage of Bourdieu's concepts. As a next step, it will study not only the summary of The Lover and the analysis of its society, but also provides a comparative representation of these novels.

French abstract: « Postmoderne », « hypermoderne » ou encore « extrê me contemporaine » sont gé né ralement les adjectifs attribué s à la litté rature depuis les anné es 80 du XXè me siè cle. De telles appellations prô nent une certaine allusion ironique à une « fin » et/ou à une « mort » non seulement de l’ art, mais aussi de la litté rature, qui part du passé , rejoue ses codes et annonce le recommencement. C’ est une litté rature de l’ entre-deux qui cherche à rendre palpable une dynamique de renouvellement dans une visé e de jeu, à porté e ludique et parodique, tout en recommandant la construction à partir de la dé construction. English abstract: OSTMODERN", "hypermodern" or "extreme contemporary" are generally the adjectives attributed to literary texts which have been produced since the 1980’ s. Such appellations advocate a certain ironic allusion to an "end" or «death» not only of art but also of literature, the literature which starts from the past, replays its codes, and announces the recommencement. It is a literature «in-between» which seeks to make palpable a dynamic of renewal with a playful and a parodic scope, and to recommend the construction from the deconstruction. Moreover, since the 1980s, there has been the question of the transition from modernity to "postmodernity", which often creates a certain amount of embarrassment among critics and researchers, where one wonders if he/she is out of step with literary modernity or continuity. The present work will focus first on the notion of "end" or "death" in architecture, and then in literature. Second, it will highlight aspects of the evolution of the literary "paradigm". I. DISCUSSION In the 1970s, if anyone spoke of a transition to "postmodernity", one should think about the horizon of surpassing and the possibilities of rupture that architecture offers compared to modernity. We must mention especially Charles Jenks, the American architect who published his book entitled The Language of the Post-Modern Architecture (1977), in which he announces the break with modernist architecture. One can also mention the German architect Walter Gropius who wanted to oppose the functionalism of some modernist architects. In other words, he sought to oppose the artistic purity and the required originality of any work which the artists in the early twentieth century wanted. Such changes are part of a quarrel of contemporary art around the aesthetic and artistic requirements to evaluate any work. Nevertheless, if the notion of "the end" is evoked, among others The End of painting in art, it is to look for new issues to art, which enhance it and ensure its growth, and take into account its relationship with a reality which is changing, discontinuous and elusive. The renewal, which was wanted and announced by different artists and in various fields, especially in architecture and painting, opened the way to a cultural debate and provoked research in literature that, has been wanted to be innovative and to introduce a new aesthetic design, since the 70s and especially in the early 80s. However, we still hesitate about the change that is happening in the field of literature. From one critic to another, we can notice the use of various appellations of this literature with generally a more or less categorical intention, which evokes the change and shows the specificity of a different literature, sometimes refractory, but often difficult to grasp. Moreover, if we are talking about a new literature, we should not approach it "outside the frames of the already thought", while considering that "the criticisms and experiences of previous decades have not become empty or silent again. Although "since the Eighties, the French novel has entered a period of profound renewal, [and that] the decline of a certain literature of research seems to give rise to the search for a new literature, which no longer forbids the pleasure of the narrative, the expression of the subject nor the confrontation with the reality". It is between renewal and the return to the old, between the present and the past, that unfolds the literature of "the extreme contemporary" which is located in the " in-between ", a literature which can only occur in filiation. Indeed, after the innovative thoughts of writers of the New Roman, after "the spirit that Beckett and Pinget have installed at Midnight", we see the emergence of a whole generation of young writers who can show a certain convergence. Authors such as Jean Echenoz, Jean Philippe-Toussaint, Patrick Deville, Christian Gailly, Christian Oster, Marie Redonnet and Eric Chevillard have been involved in the development of "extreme contemporary" literature in France since the 1980s, and in an "aesthetic who renounces the "clean slate" advocated by the avant-garde of modernity and renews interest in the past, writes Viart. No matter the label, he adds: in the uncertainty that underlies our present, the concern has grown to understand our history and its avatars. In the artistic and cultural world, this means restoring the gaze given to the subject and its vicissitudes, to the reality and to the ways in which we live it. We evoke what some literary critics, Danielle Sallenave in 199021 and Dominique Viart in 200422, call "transitive" literature, where we do not witness a textual autonomy when the writer, with an autotelic vision, tries to define the fiction in its textual framework and within the structures giving priority to language, which in turn denies any representational design, but to a fiction that re-plays the modes of referencing and representation so that it participates in a considerable aesthetic mutation which has been installed since the seventies. The writing of the extreme contemporary serves to disturb the certainties of the reader and invites him to look for other possibilities of experience, other truths still elusive, hence the poetics of creating what does not exist from what exists. If the reader has to live the fictional experience emotionally, if he produces meaning and is involved in chronological and historical duration, if he agrees to become even a fictional character, it is to say the refusal of the world as it is. The writers of the "extreme contemporary" do indeed leave the sphere of reality, aspire to elsewhere and to exoticism, but they return to it, that is to say that they make fictitious and possible worlds a pretext for recreating the real world, seeking to extract the rational from the illogical and to detect the new stereotype and the truth of the deception. Thus, the intelligence of the reader is always challenged and his imagination is often aroused, in the sense of translating a cumulative emotional effect throughout the reading. Certainly, this literature does not allow itself to abolish traditional codes. Rather, it reworks them to make them meet the literary and aesthetic requirements. The new literary imaginary consists in treating the elements back in the narrative as literary questions that go beyond their traditional conception and which represent a part of the innovative quests of the writers of the "extreme contemporary" who can only revive themselves in a purely playful universe, replaying history and culture in a perspective of constructive reinterpretation. It is a renewal that aspires to generate a whole aesthetic of disruption, which draws its essence from paradox, ambivalence and in-betweenness: between the return and the critical detour, between continuity and rupture, for and against logic. II. CONCLUSION From the 80s to the present day, we are witnessing the development of a literature that starts from the past, advocates the return, shows the detour, and announces the departure or the recommencement. This literature seeks to concretize the dynamism of renewal of the novel, which should occur in relation to a former recognized in its aesthetic totality. The new perspectives aim at a certain poetic renewal that would allow the replay of the norms of traditional fiction and its multiple powers, in a game scope, playful and parodic, and preaching construction from deconstruction. Admittedly, the new literature does not allow itself to abolish traditional codes, but it reworks and adopt them to contemporary concerns, which are related to reality and particularly to the literary and aesthetic requirements sought. The novel appeals to everyday life with its various anxieties and its various commitments, but always with a certain "critical distance". An interest in printing an imaginary of literature consists in treating elements back in the narrative as processes and questions of literature that go beyond their traditional conception and are part of the innovative quests of the writers of the "extreme contemporary". It is perhaps this transcendence that generates a whole aesthetic of derangement, which draws its essence from the very paradox, ambivalence and in-between: between the power and impotence of language, between return and the critical detour between transition and rupture, for and against logic.

French abstract: Quel type de texte l’ é criture du trauma gé nè re-t-elle? De source psychanalytique, le trauma survient dè s lors que le sujet est confronté à une expé rience douloureuse vé cue individuellement ou collectivement et qui le hante continû ment. Ainsi, il vit un dé sé quilibre psychique dont la principale manifestation est son incapacité à se maî triser. Partant de ce postulat, l’ article vise à montrer que, dans Notre vie dans les forê ts de Marie Darrieussecq, le trauma prend forme dans l’ environnement familial et social: disparition pré coce de gé niteurs, dé couverte inattendue de soeur cloné e, attentats, accidents d’ avion, prises en otage, canicule. Il met ensuite en lumiè re que ses effets sur le sujet narrant sont ré vé lateurs d’ une hybridité textuelle. L’ auteure construit un texte qui se situe entre le té moignage et la dystopie. Il dé voile enfin l’ existence d’ une poé tique scripturale empreinte essentiellement de nombreuses ré pé titions, d’ é lé ments onomatopé iques et intertextuels, d’ abondantes distorsions syntaxiques, signe d’ une subversion de la langue. English abstract: HE psychoanalytic field, trauma is understood as a painful experience lived individually or collectively and which takes possession of the individual. Faced with a psychosomatic tear, the traumatized person no longer has any control. In literature, when the narration is provided by a traumatized subject, the text loses its linearity and becomes hybrid. This is the case in Our life in the forests of Marie Darrieussecq whose story is both testimonial and dystopian. What are the origins of the trauma of the narrator in this work? How does trauma generate generic hybridity and what style does it hatch? Starting from the postulate that the novel is an open, multifaceted genre, which absorbs everything, the analysis is responsible for elucidating the mechanisms of functioning of the trauma in the work of the French novelist by determining its causes, showing the meeting between the witness and dystopia within the narrative, highlighting the aesthetic character of writing. According to Marie Carmen Rejas Martin, the trauma originates from serious events lived collectively and / or individually. In Our life in the forests of Marie Darrieussecq, these two types of trauma are present. The individual trauma is located in the family sphere of the protagonist. This one, answering to the name of Viviane, became orphan of father and mother, in his childhood. She lost her father accidentally while she was still an infant. And about her mother, her death occurred during his adolescence. Condemned to live without her parents, the heroine received early psychotherapeutic care. In addition, she had a sister through cloning. Because the human beings coming from this reproductive system which is cloning are assimilated to subhuman beings and thus obliged to a life under medical assistance, the protagonist-narrator is constantly anguished even traumatized. The collective trauma leans on various factors: plane accidents, terrorist attacks, kidnappings, heat wave, diseases, restriction of liberties, excessive robotization. For Joseph Attié , these events produce today, in the 21st century, many traumatized. In this way, the term "trauma" is very popular in our era. For her part, Cathy Caruth explains the trauma by the haunting presence of an image or an experience. In the wake of Cathy Caruth, Anne Martine Parent defends the idea that the trauma of heroin and other members of society is justified by the fact that these characters fail to integrate what happened. All the reasons identified and at the origin of the trauma of the central character and the rest of society produce the same effects, namely paranoia, psychosis, pain. Marked by the seal of trauma, Marie Darrieussecq's novel is between the testimony and the dystopia. The testimony is based on real facts and is for a witness. Since the latter, who identifies with the reader, is absent during the course of the event's scene, the author uses imagination and subjectivity in the narrative to facilitate the understanding of the traumatic episode, according to Barbara Havercroft. In the text of the testimony, the author, the narrator and the central figure share the name. With Marie Darrieussecq, this pact seems broken on the understanding that there is an anthroponomic jamming between these different entities. However, the many points of similarity consecrate the testimonial character of Darrieussecq's narrative while rendering the nominal hiatus minor. Consequently, several parametric elements bring Darrieussecq's text closer to the testimony: the professional affinity between the author, the narrator and the central character and the incessant calls to the reader-recipient. Like Marie Darrieussecq, the narrator-protagonist practices writing and practices as a psychoanalyst. Obviously, the witness is always addressing a recipient, which explains why Marie Darrieussecq, the narrator is addressed directly to the reader, by designating it by the pronoun of the second person of the plural. In this way, she expresses the need to share her anxiety with the other, with the reader, her silent interlocutor, in the understanding Havercroft. On the other hand, Bruno Blanckeman considers Darrieussecq's novel as a work obeying the literary modalities of the testimony because it perceives a work of aestheticization of which the word and the word constitute the matter. This aesthetic expression lies in the refusal of the chronology, the numerous transgressions of the syntax, the important iterations, the insertion of medical pages, among others. This is why the testimonial narrative has been enriched by the author's imaginary and unconscious by revealing the traces of romance that feeds on fantasy, as apprehended by Andreas Pfersmann. The dystopian work denounces, for its part, the bad future of society caused by many factors such as terrorism, epidemics, global warming, the restriction of freedoms, robotization, to name a few. All things that belong to the actions of man or nature. The dystopian phenomenon is not confined to contemporary literature alone, it also affects the film sector. Many works of famous cinematographs are adaptations of novels namely Matrix, Welcome to Gattaca, Equilibrium with in focus the predominance of technologies on humans. The dystopian phenomenon is naturally summoned in the story of Marie Darrieussecq through the attacks, kidnappings, plane crashes, heat wave, diseases, restrictions of freedom, excessive robotization. These evils, which are read in the novel, contribute to the existential malaise of the members of society. With the diseases, without freedom of expression and under the domination of the robots, the characters are confronted with a perilous life. In doing so, the work of Darrieussecq is part of the new literary trend that places the novel genre at the heart of major contemporary issues, according to the perception of Christine Baker. In the novelistic discursive, Marie Darrieussecq uses various methods to pierce the aesthetic dimension of writing. Indeed, psychically unbalanced due to the premature death of her parents, the discovery of her cloned sister, the many societal calamities and physically impaired, showing signs of physical suffering, the narrator provides a narrative delineate, marked by many repetitions, onomatopoeic elements and intertextual references. Repetitions break the chronology of the story; they allow him, in this case, to solicit the complicity and support of the reader-witness. Onomatopoeia confer a sound character to the text; the intertexts open up the novel text to other texts, here to Sacred Scripture and to the work of the psychoanalyst Sigmund Freud. To these are added abundant syntactic distortions characterized essentially by lacunary sentences singularly nominal, infinitive, adverbial, verbal, adjectival constructions. These various constructions are grammatically correct, but syntactically false. They find their justification in the psychic discomfort experienced by the protagonist narrator who no longer manages to differentiate between the normative language and unconventional language. For this character, only the content of the message matters. The style adopted by the novelist translates the transgression of the language and consecrates its hyper-oralization in her work. In the end, the writing of the trauma is generating the hybridity of the genre in Our life in the forests of Marie Darrieussecq. The traumatic causes of the heroine narrator both familial and social such as the early death of her parents, the unexpected discovery of her cloned sister associated with aircraft accidents, terrorist attacks, kidnappings, heatwave, diseases, restrictions of liberty, over-robotisation. The psychic imbalance of the narrative instance shifts the fictional text into instability. Thus, it has become a collection of heterogeneous texts. In these conditions, it contains features of other genres such as testimony and dystopia, revealing at the same time the existence of a scriptural poetics, a sign of the novel renewal inaugurated by the New Roman at the end of the first half of Twentieth century.

French abstract: L’ orientalisme remontant au XIXe siè cle, est un mouvement qui marque l'inté rê t de cette é poque pour la langue, la litté rature, les arts et la culture des pays orientaux. Le rapport entre l'Orient et l'Occident est connu depuis l'Antiquité . Mais, l'é tude savante de la langue et de la culture orientale remonte à la seconde moitié du XVIIe siè cle et il atteint son apogé e par la premiè re traduction du grand tré sor de la litté rature universelle; des Mille et une nuits, par Antoine Galland. Mathias É nard, é crivain contemporain, ayant connu comme spé cialiste des cultures et des langues arabe et persane, a essayé de dé crire l'Orient de son temps. Cet article a pour objet de mettre en valeur la ré é criture des Mille et une Nuits et la ré incarnation de Shé hé razade par Mathias É nard dont le reflet se voit dans son livre majeur, Boussole. Dans cette modeste recherche, à l’ aide d’ une approche analytique et comparative, nous allons essayer de ré pondre à deux questions: Quelle est l’ influence de la traduction des Mille et une Nuits sur Boussole? Quelles sont les figures repré sentatives de Shé hé razade dans ce roman? Nous allons tout d’ abord é tudier le parcours litté raire de Mathias É nard en tant qu'admirateur de l'orient des Mille et une Nuits. Ensuite, nous allons dé chiffrer que ces deux ouvrages se rapprochent non seulement par la structure mais é galement par le contenu. English abstract: THe West has cultivated a fascination for the East and Islamic civilization over the centuries. This fascination took off in the Age of Enlightenment and in the Romantic era, when the artistic movement of Orientalism was born. Orientalism, dating back to the 19th century, is a movement which marks the interest of this period in the language, literature, arts and culture of the Eastern countries. This movement reached its peak with the first translation of The Thousand and One Nights, by Galland (1704-1717). Antoine Galland, French orientalist, was a specialist in ancient manuscripts and coins. After fifteen years spending in Middle East, and also being fascinated by the culture and languages of the Orient and the fables he met there, he decided to translate tales of Persian origin, which would later be known as The Thousand and One nights. After the publication of this collection, the perspective of the Orient was completely changed and became a fabulous territory, an East where everything is luxury and pleasing. Henceforth, he made progress in literature, painting, archeology and music. Finally, he made an impact on the great romantic writers such as: Thé ophile Gautier, Charles Baudelaire, Gustave Flaubert, Lamartine and Victor Hugo. Thus, today we discover a contemporary figure of orientalist writers, fascinated by this universal treasure: Mathias Enard. This is how we fixed our choice on the influence of the Arabian Nights on Mathias Enard's major book, Compass. Mathias Enard is a French writer and translator, a specialist in Arabic and Persian cultures and languages. The romantic works of Mathias Enard often take place in Eastern countries. Reading Mathias Enard's books, we see that all of his works is strongly influenced by the Orient and that he reveals his own attachment to it. Mathias Enard reconstructs the image of the Orient. He celebrates art and literature and more particularly poems and musics of the East. According to him, the East and the West were built together and we cannot consider them separately. The purpose of this article is to highlight the rewriting of A Thousand and One Nights and the reincarnation of Scheherazade by Mathias Enard whose reflection is seen in his major book, Compass. In this modest research by using an analytical and comparative approach, we will try to answer two questions: What is the influence of the translation of the Arabian Nights on Compass? Who are the representative figures of Scheherazade in this novel? We will first study the literary journey of Mathias Enard as an admirer of the Orient and of the Thousand and One Nights; then we will decipher that these two works are brought together not only by structure but also by content. Indeed, thanks to his excellent translation, Antoine Gallant, managed to bring us back to the Orient. So, Mathias Enard, who was so impressed with the Orient and especially the Orient of the Thousand and One Nights, tries to reconstruct The Nights of his time. In addition, by taking up the character of Scheherazade, Enard tried to describe the Orient of his time. By using a literary form, Enard tries to portray today's society and compare it to yesterday. By building a story on a real basis, he actually seeks to give us a description, broad and precise, of the East and the reciprocal relationship between East and West from the nineteenth century to our days. This study, which aims at being comparative, has indicated that Les Mille et une Nuits et Boussole is not only related by structure but also by content. Also remember that the principle is the same. Both works appeal for love, fear, suffering, adventure and death, but in a totally different way, with a different Scheherazade. Scheherazade chez Enarde is represented in different ways. Indeed, Enard skillfully plays with the figure of Scheherazade. In fact, the latter is embodied in different characters of this novel. It influences the entire novel and its characters. Therefore, it is obvious that The Thousand and One Nights offered fertile ground for literary creations. The author of Compass, who was indirectly inspired by the Arabian Nights, tried to prevail over this work, to write something even greater. Indeed, it is obvious that one should not consider Boussole as one of the tales of the Arabian Nights, but like a night having more greatness and complexity than their model. The field is nevertheless larger and always requires more additional research on unknown aspects.

French abstract: Patrick Modiano, romancier franç ais du XXè me siè cle, s’ inspire des images, des é lé ments historiques et des mythes pour souligner la part de la rê verie, l’ imagination, l’ histoire et l’ extase maté rielle en rapport é troit avec le ré el vé cu. Il se sert d’ un dé ploiement spatio-temporel qui dé montre le terrain imaginaire se rapportant à la repré sentation ré elle, mentale et contextuelle. Pour Modiano, l’ espace est un é lé ment provocateur des souvenirs qui dé peignent son architecture romanesque et met en scè ne les personnages errants et fugitifs. Cet article a pour but d’ analyser les caracté ristiques spatiales dans Rue des Boutiques Obscures du point de vue bachelardien pour ré vé ler les pré supposé s objectifs et subjectifs de l’ espace, et les rapports entre images qui nous aident à dé couvrir l’ apparition et le dé veloppement du "sens spatial" et qui dé terminent l’ influence ré elle et imaginaire de l’ espace dans un contexte romanesque et narratif. English abstract: ATRICK Modiano, French novelist of the XXth century, is inspired by images, historical elements and myths to underline the part of reverie, imagination, history and material ecstasy in close connection with the real lived. He uses a spatio-temporal deployment that demonstrates the imaginary terrain relating to real, mental and contextual representation. In short, the thematic study consists in approaching the objective characters in relation to the subject-being and the universe. He openly presents the material quality of the image from history and consciousness, while the experience of the natural theme, including space, often allows Modiano to define and create a context filled with history and back to the past. The images have unity when speaking of formal games of literature. The image in Bachelard, as a small unit of literature, is defined by the dreams and the conscience of the artist who justifies a universe in suspense and in full freedom, because the bachelardian image is a dynamic experience and a complex expression whose language force encourages the author to introduce and manage his feelings. For Bachelard, influenced by Freudian concepts, images like traps are active elements and, with their repetition, await the productive energy of their readers. This Modiano attitude towards images allows us to manage existential anxiety and discomfort. Modiano builds his illusions according to the images which only take from the primary origin of his existence and which grant access to a temporal discovery of his material imagination. So we take into account a deep confusion of memories and imagination in Modiano who, highlighting identity confusion, announces the blurring of text and meaning. According to the idea of the dispersion of space in the alleged author, imagination accompanies the auctorial consciousness and gives essence to textual forms. It is in this sense that the imagination reaches the creation and is based on the matter of space in Modiano. These images, through their dynamic movement, refer to an imaginary materiality and a spatial transformation. Thus, the author tells us, through words and forms, "presence". Given the fact that the Modiano space facilitates the understanding of the history which is rooted in events, mores and habits, this space realizes a bridge between the past and the present, being and becoming. In addition, the visual for Modiano is part of an uncertain reality that proceeds from a motor of the body. In this fiction, space is formed and accompanies the reader in a labyrinth of childhood. In this respect, the space of places like the Châ teau de Valbreuse includes dimensions that help the author to locate them, and to grasp the spatial object of a lost memory. In Modiano, this image of space ends up being identified, while it exceeds sensitivity. The space testifies to the past, to altered history, and the anamnesis is made through wandering and traveling in Paris and its streets, squares and bridges. Modiano, thanks to his fugitive protagonists, strives, with virtuosity and an anthropologic-historic-geographic conception, to restore borders and “ geo-historical” traditions whose components are dispersed in the form of narration. Everything that haunts Modiano's soul and spirit in Rue des Boutiques Obscures relates to the germ and power of subjectivity, and floating images relate to an aesthetic that triggers semiotics through lived spaces, because, there are two spaces in the Modiano story that clash: "the city space, the human space". Given the exploration of the creative imagination at Bachelard, Modiano helps to release the dynamism of the image and transform it into intimate topography. Consequently, for Modiano, Paris, its streets and squares, are the archetypes of intimacy around which the wandering imagination revolves. In fact, this production of archetypal images is devoted to deploying the reserve and the original of the images engraved in a disturbed spirit. On the whole, the spatial image and its dynamics in Modiano constitute a shadow figure and an illusion of reality. The medium of fantasy in Modiano is revealed by an inspiration and recognition of the imaginary towards the emotional and the pathetic. And it would be interesting to evoke the representation of identity within the Parisian space. These closely related spaces allude to a unique universe and reveal themselves as a metaphor between man and the universe, because the problem of space is closely linked to that of memory in Modiano. The symbiosis of the subject and the object encourages Modiano to produce his sensations specific to spaces. To do this, he uses lived forms of space. The fragmented and dark memories seek only one goal: to accomplish a cyclical movement which evokes the past and resonates in the present. For Modiano, such an incarnation of space and the past virtualizes symbolic intrigue and characterizes in a chaotic way the reappearance of history. The novel follows a labyrinthine journey with its narrator who leaves his agency and leaves towards an outside, accompanied by two qualities namely investigation and recollection. These two evocative attitudes generate meaning in Modiano and help to cross the stage in order to find a lost, intermittent and uncertain memory. In Paris the streets, in the streets the buildings, in the buildings the rooms and so on, evoke the multiplication of spatial forms in Modiano. This writing brushes the nostalgia for origins in a foggy past to revive identities-in full wandering-and collective memory. It is a postmodern characteristic that reveals historical myths through violence and disappointment. The space lost and found in Modiano brings us closer to a discursive space where all the ideological interruption is resolved and a poetic orientation arises. The Modiano’ s spatial image changes into a sensory and expressive medium to engage in a field of investigation. It is in this sense that such passages and situations, underlined by an ambiguous feeling brushing an intimate experience of eternal return, awaken in us the pre-existing and foreseen feelings of the space-even of time-lived. So Modiano is looking for lost space. The Modiano text that approximates the historical novel by space and urban documentation highlights the identity and private characters of a tragic destiny. The design of the space is simply understandable through memories, analepses and narrative prolepses. It promotes reading among Modiano and produces a certain relationship between the individual and his environment. It takes on a meaning which represents a space corresponding to a time. On the one hand, the study of the modalities of space highlights the irreversible reflection of originality and human identity, often leading to apprehension, through the events of the Occupation, which are based on others. In such a perspective, the real outside is internalized to give birth to a subjective investigation and exploration, a perceptual and intimate universe, and an unusual immensity. Modiano in Rue des Boutiques Obscures traces the search for an identity through the darkness of the Occupation. This research takes place in time and space. The novel mixes with reality and fiction to access a lost consciousness. In this tale of travel towards oneself, everything is changing; even the perception of space makes it possible to introduce the narrator into an uncertain and closed sphere. Thus, the narrative is more like a dream that has its own space. For Modiano, Paris and its streets are the symbolic examples that inform us of cultural and social models. All things considered, they summon the perceived difference and the awful sensitivity. To highlight them, the author paints a topology of reality and chooses a doubtful corpus so that he can find the missing man.

French abstract: La question des genres litté raires a é té pendant des siè cles l’ objet central de la poé tique. Le genre d’ un texte est l’ une des connaissances pré liminaires qui ré pond à l’ horizon d’ attente du lecteur et qui pré cè de son expé rience esthé tique. La notion d’ horizon d’ attente de Jauss et la gé né ricité de Jean-Marie Schaeffer ont modifié le caractè re figé du genre en le rendant plus dynamique. Selon Julia Kristeva, ce dynamisme devient le trait distinctif du roman. Le roman pour Kristeva est comme un ‘ processus’ , « quelque chose qui devient ». Ainsi, ce dynamisme gé né rique permet aux diffé rents genres de coexister. Cette coexistence ou parfois l’ interfé rence gé né rique donne naissance au concept de mé lange ou hybridation des genres, l’ objet central de cette é tude. Le surré alisme, malgré son incompatibilité intense avec le genre romanesque, a indirectement incité quelques romanciers, surtout Queneau à ré diger des romans dans un genre hybride ou parfois non-dé fini. Le genre estimable selon Queneau n’ est ni le genre idé al et merveilleux que proclame le surré alisme, ni les genres classifié s. Dans l’ é tude pré sente, nous avons abordé la question du genre dans Le Chiendent, l’ oeuvre remarquable de Queneau, en mettant à jour l’ aspect hybride de ce roman. Nous avons relevé les indices qui nous ont conduits à qualifier ce roman comme poé tique, thé â tral et ciné matographique. English abstract: tHE question of literary genres has been the central object of poetics for centuries. The genre of a text is one of the preliminary knowledge that responds to the reader's horizons of expectations and precedes his aesthetic experience. The notion of Jauss’ s horizon of expectation and Jean-Marie Schaeffer’ s theory of literary genres have modified the frozen nature of the genre by making it more dynamic. According to Julia Kristeva, this dynamism becomes the distinctive feature of the novel. For Kristeva, the novel is like a 'process', 'something that becomes'. Thus, this generic dynamism allows different genres to coexist. This coexistence or sometimes the generic interference gives birth to the concept of mixture or hybridization of genres, which is the central object of this study. Despite its profound incompatibility with the genre of novel, surrealism has indirectly encouraged novelists, especially Queneau, to write novels in a hybrid or sometimes undefined genre. The estimable genre according to Queneau is neither the ideal and marvelous genre proclaimed by surrealism, nor any of the undefined genres. In the present study, the issue of genre in Queneau's remarkable work Le Chiendent will be studied, by highlighting the hybrid aspect of this novel. The clues that led to characterize this novel as poetic, theatrical and cinematographic are specified. So, the main question that this article will attempt to answer, inevitably partially, is Queneau's attitude and thesis about novel as a literary genre and aesthetic form. The response to this question can only appear after a precise study of Queneau's work, concerning the idea of relativity or mixture of genres. It should be noted that Queneau was a great reader and no genre was strange to him. Thus, the generic complexity of his works is well calculated. Le Chiendent is the exemplary corpus of this study. This choice is due to the fact that it is the main work of the author who deeply challenges (more than his other works) the fundamental notion of literary genre and leaves it in "the era of suspicion". Queneau plays well on the distinction between genres: for him, all of the genres are interchangeable. The novel could be written as a poem and vice versa. In Le Chiendent, which participates in the hybrid genre and which is a novel-poem, that is to say, neither novel nor poem, Queneau implements a poetic structure through rhymes, symmetries and correspondences. This novel is constructed with as much internal rigor as a rondeau or a sonnet. This is the way that Queneau creates very rigorously this hybrid genre of the novel-poem by borrowing the structure of a poem. Besides, this novel-poem does not stop there and it invites other genres to join. Le Chiendent has also a strong dramatic color and is interchangeable with a theater performance. To study the theatrical aspect of his work we refer again to the idea of relativity or the hybridization of genres. But how does the romantic representation of Queneau reveal itself as a spectacle or take the spectacular form? To answer this question, we will briefly undertake a study of the theatricality of this work in order to show how the author plays with the concept of genre. We will first point out the different demonstrations of the “ performance” in the novel, then we will explain the theatrical aspects of the Chiendent by some significant examples. Le Chiendent constitutes the scenes which have a remarkable spectacular attraction. One of the most recurrent scenes in Le Chiendent is that of “ death” . On this subject, six funeral spectacles were presented in this work, emphasizing their theatrical dimension. We will see how theatrical techniques dominate Queneau’ s romantic work. It should be added that the spectacle also manifests itself in the structure of the text. It even fits into the structure of the novel. The book consists of seven chapters, each of them ends with an interlude in italics. These interludes produce pauses between the main "acts". It works as a form of diversion that shifts the reader's interest to other spectacles. Among theatrical games, the game of appearance and disguise has an active role in Le Chiendent. This game is so important because it is recognizable at the beginning and at the end of the novel. According to the testimony of his biography, Queneau was passionate about the seventh art since his childhood. On the one hand, as a modern art in the twentieth century, cinematic narrative has drawn much inspiration from literary works and, on the other hand, has done them a service by bringing them back to life on the big screen. From 1944, Queneau turned to the writing of film scripts and dialogues. It therefore seems quite natural if this writer interferes his cinematographic knowledge with his literary talents. Later, his passion for cinema will be passed on to his characters. In this part, we will briefly study how Queneau, by applying certain techniques of character presentation (slowed or accelerated) according to cinematographic processes, brings his novel closer to the film. In this novel, the reader could identify some perspectives that can be changed at any moment. The use of such cinematographic methods in the romantic narrative and this generic interference gives the Chiendent a rather original aspect and already an air of modernity which we will find later in the new novelists. By applying the novel genre and integrating other genres (even that of cinematography) in his novel, Queneau launched a real generic game in the literature of the twentieth century.