Recherches en Langue et Littérature Françaises
Year:2022 | Volume:15 | Issue:28|Papers Count:12

French abstract: La litté rature a toujours é té la scè ne d’ é clatement des conflits sociaux. Or, elle ne s’ est jamais contenté e de les mettre en scè ne tels quels, ni rester indiffé rente par rapport à eux. Car la vocation principale de la litté rature est de ré agir aux discours et aux repré sentations sociaux et de les mettre en question. La vie devant soi de Romain Gary est l’ une des oeuvres dans lesquelles on peut voir la confrontation de deux discours sociaux. Celle-ci donne naissance à une forte tension idé ologique qui peut ê tre é tudié e dans la perspective ré ceptionniste et sociocritique. Dans cette é tude, ayant recours aux concepts ré ceptionnistes proposé s par Jauss, ainsi qu’ à la sociocritique pré senté e par Duchet, Zima et Bakhtin, nous nous proposons de faire une lecture du roman et nous tenterons de ré pondre aux questions suivantes: En quel sens l’ oeuvre de Gary pourrait-elle ê tre considé ré e comme une relecture de Les Misé rables et comment peut-on interpré ter cette relecture dans une perspective sociocriticienne? Comment le roman prend position par rapport à la tension idé ologique pré senté e? Comment l’ univers garien parvient-il à dé placer et à redé finir la frontiè re des repré sentations sociales? Afin de ré pondre à ces questions, nous allons partir d’ abord d’ une é tude ré ceptionniste du roman. Nous allons ensuite nous concentrer sur son analyse sociocritique et finalement, nous allons aborder le fonctionnement de l’ esthé tique carnavalesque dans le roman. On verra comment l’ oeuvre choisie agit sur les repré sentations sociales. Cette é tude ré vè lera le positionnement critique de l’ oeuvre par rapport à la tension sociale mise en scè ne. English abstract: Literature has always been the scene of the outbreak of social conflicts and the space for confrontation between ideology and humanity. However, she has never contented herself with staging them as they are, nor remaining indifferent to them. Because the main vocation of literature is to react to social discourse and representations and to question them. In the twentieth century, the outbreak of wars all over the world, especially the two world wars, encouraged the tension between ideological and humanist discourses, spoken for or against human rights, their condition and their destiny. Twentieth-century literature is thus known for the image it reflects of these social tensions and also for the way in which it problematizes, confirms or questions them. Among the writers of the past century, Romain Gary is one of those whose positions are very critical; as much with regard to ideological discourses as with regard to pseudo-humanist discourses. Known for its diversity and its undeniable richness, the Gary’ s artwork is indeed one of those artworks that opposes the ideological to the human in a dark universe marked by the author's fatalistic vision. The Life Before Us (1975) is a novel that shows how fatality and constraint can threaten the boundaries of social representations and discourses. The work depicts the story of Belleville, the small society of immigrants from Paris during the 1970s. The novel owes its originality to its numerous references to Les Misé rables, the work Gary parodies in order to tell the story of a new generation even more miserable than that described by Hugo. Indeed, in The Life Before Us, Gary gives birth to a parodic universe where the absence of a rebellious and saving figure like Jean Valjean has caused the passivity of a new generation that is even more miserable. Left to their own devices, the inhabitants of Belleville succumb unjustly under the weight of the ideological distancing between whites and blacks without being able to protest or act on this social injustice. Indeed, the ideological constraint weighs on their will and prevents them from reacting until they lead them to their total downfall. So this parodied universe is built around a strong social tension between the ''ideological'' and the ''human''. Thanks to its parodic character, as well as to this tension which shares it, The Life Before Us can interest at the same time a receptionist and socio-critical study which go, one and the other, in a single direction. Indeed, both join the sociology of the "literary" in the broad sense of the term: sociocriticism deals with the formal and thematic textualization of social representations and thus tries to find a significant relationship between society of the text and that of the referent. Whereas the receptionist analysis deals with the social status of the work upstream and downstream; that is, the social conditions of its first production and its public reception. So, receptionist analysis is a sociological analysis which deals with before and after the production of the work while sociocriticism is the sociological analysis which deals with the work from within and is done in parallel with the work. However, today, there is no longer a single receptionist or socio-critical approach: these encompass a very rich methodological variety that allows the reader to adopt the perspective most relevant to his analysis. Regarding reception, we will therefore adopt the critical terminology proposed by Hans Robert Jauss in his Toward an Aesthetic of Reception (1982) based on three main stages, namely "aisthesis", "poiesis" and "catharsis". The "aisthesis" consists of identifying and describing the gap that a later work presents compared to an earlier work. The "poiesis" consists of studying this gap in sociological and sociocritical terms because it was born of a sociohistorical and sociolinguistic evolution. Finally, the "catharsis" aims to discover the critical positioning of the work in question, not only in relation to previous works, but also in relation to the social context in which the object of study is produced. In order to study this gap, it will therefore be essential to have recourse to sociocriticism which has at its base the analytical concepts proposed by Claude Duchet in "The sociocritical method, example of application: the sociogram of war" (1995) and those proposed by Mikhaï l Bakhtin that Pierre V. Zima takes up and reinterprets in Manuel of sociocriticism (2000). Since the interest of the socio-critical analysis of our corpus resides primarily in its parodic form, we proposed to formulate a receptionist and socio-critical problematic considering The Life Before Us as a parody of Les Misé rables and we will attempt to answer the following questions: In what sense could Gary's work be considered as a rereading of Les Misé rables and how can we interpret this rereading from a socio-critical perspective? How does the novel take a stand in relation to the ideological tension presented? How does the Gary’ s universe manage to shift and redefine the frontier of social representations? In order to answer these questions, we will start with a receptionist study of the novel which will consist of three parts: the study of the aesthetics of referentialization and its parodic and critical impact, that of the characters and their oxymoronic statuses and finally, that of the reconstruction of the space-time of the novel and its ideological symbolism. This first part will allow us to identify and describe the gap between the two works. Based on our first results, we will focus, in the second part, on the socio-critical analysis of the novel: we will study the different configurations of ideological tension and we will seek, in the attitude and the metamorphosis of the characters, the reaction to this tension. We will therefore try to interpret the gap in sociohistorical and sociolinguistic terms. The novel's critical positioning cannot be seen simply in the characters; it also resides in the carnival aesthetic whose romantic style largely benefits to reinforce the critical impact. So, in the final analysis, we will be looking for the critical positioning of the novel through the functioning of the carnival aesthetic: this analysis will be based first on the identification of the true narrative-enunciative “ I” and then on the discovery of other carnival elements and their impact. By way of conclusion, we will see in what lies the sociohistorical and sociolinguistic complexity of The Life Before Us, the novel in question: on the one hand, it is articulated around certain dichotomies which arise from distancing and domination in order to impose ideological boundaries. On the other hand, it is based on the total rejection of a medical discourse which gradually finds its importance in social debates and shares the sociolinguistic and socio-political situation in pros and cons. However, this discursive situation is called into question through both stylistic and thematic issues. Regarding the stylistic issue, the novel chooses a parodic form and takes full advantage of all the resources of the carnival aesthetic; indeed, it shows that despite any other reaction, laughter is the most effective attitude to question ideological dichotomies. Regarding the thematic issue, the novel attempts to stage the impact of ideological constraints on the contours of humanism by presenting two oxymoronic characters. Indeed, the whole of this study will reveal to us the critical positioning of the work in relation to the staged social tension.

French abstract: Penser la relation entre l’ É tat et les pauvres ne consiste pas seulement pour les romanciers des Lumiè res à s’ inté resser à la lé gislation et à la politique publique adopté e pour traiter le problè me de la pauvreté , mais passe aussi par d’ autres filtres, tels que les utopies ou les nations é trangè res, qui offrent d’ autres cadres de pensé e, moins contraignants et autorisant un certain nombre d’ audaces chez les auteurs. Il s’ agira pour nous de dé terminer les apports de ce dé tour par des cré ations romanesques et de se demander si ce dé tour est une é tape né cessaire pour penser les nations pauvres. English abstract: Assistance to the poor falls under the Old Regime of the duties of the Church, which explains the omnipresence of Christian charity in French novels of the 18th century. But a social evolution occurs over the century which tends to make the problem of misery, of an essentially moral nature, a question of public order. In the second half of the century, the thinkers of the Enlightenment, separate poverty from charity in a movement of secularization. We find traces of this shift from the care of the indigent by religious institutions to the public sphere even before the end of the century in the novels. The taking charge of the State irrigates all the French novels of the 18th century, with some minor mentions in the 1730s (Pré vost, Montesquieu, d'Argens), a large majority of political and social analyzes during the decades 1760-1770 (mainly written by Rousseau and Diderot) and a few rare allusions to the end of the century (by minors like Genlis or Lesuire). For the Enlightenment novelists, analyzing the relationship between the State and the poor does not simply consist in studying the legislation and public policies adopted to deal with the issue of poverty, but also passes through other mediums. These include utopias, which offer a different framework for thought, less restrictive and allowing the author to introduce a certain amount of creativity in their writing. Indeed, the political thought of novelists is not confined to the Enlightenment novel to the historical states as one might expect. Some free themselves from the weight of reality to conduct their thinking in an imaginary framework, more conducive to their purposes. Utopias, whatever their type (anticipation, uchronia, dystopia, etc. ), have a close, albeit indirect, relationship with poverty: they all have in common the establishment of another form of economy in which money remains in use or not but where goods are pooled, which theoretically eradicates poverty. This community of goods often goes hand in hand with a holistic vision of the family, according to which in the most extreme utopias children are shared. In utopian novels, we observe against all expectations the failure of this new form of economy: the detour through fiction makes it possible to think about poverty but not to provide a lasting solution to it. This inventive economy has no future due to non-economic parameters, such as freedom or virtue, which shows us how difficult it is to study poverty, even in a framework as free as that of a utopia. Therefore, it might be easier to analyze poverty by basing it on existing models of society. Some novelists choose an in-between solution by creating an imaginary economic model based on an actual one and we can then observe a collision between fiction and reality. Outside the literary framework of utopia, we find real states that have all the appearances of utopia. In Genlis’ eyes, the ideal communities are not those which prosper the most in the economic sphere, but those which know how to adorn themselves with other virtues such as cleanliness or beauty, and even uniqueness to arouse interest. The town of Broë k thus paints a model of what could be achieved in France. This village offers a considerable advantage as its operation is proven to be viable. The novel, Adè le et Thé odore, then serves as a support for the author's didactic aims, while solving the problem of poverty by generalizing wealth. It is different in the country of Valais, represented by Rousseau in La Nouvelle Hé loï se, where money no longer even runs, unlike in Broë k. A true earthly paradise is emerging, which is not Eldorado, but where one lives peacefully, according to the seasons and in harmony with nature. Censor of luxury, as a source of misery, Rousseau infuses the novel with his rejection of the reign of money and imputes to the inhabitants of Valais ideas that he acquired through reasoning but which they have achieved through feeling. Whether completely utopian or in-between, there is a similarity in the representation of poverty in the Enlightenment literature, in the fact that it breaks from the reality of the one dominating in Europe at the time. The novelists who try this exercise do not all pursue the same objective: when Bougeant laughs, Genlis offers models; where Montesquieu and Pré vost concentrate on philosophical and moral reflection, Lesuire pleasantly exploits the resources of the novel. Flagrant differences therefore separate these various state models, but they are not so much a historical development or a generic affiliation (utopia) as of auctorial motivations. Perhaps with utopia we touch this intimate area where the imagination of the novelist is revealed, even more than his deep thought. . . Unlike utopian states, whose outcome is more or less favorable but where misery has been eradicated, the poor nations in our corpus are not affected by economic failure in a specific category (workers, peasants, beggars, etc. ) but in their entire population. Depending on the author's aims, the states are different, just as the national causes of poverty differ. Thus, within any state, poverty obviously affects some regions rather than others; it is mentioned throughout the century, without much variation, and in all genres, as well in moral tales, edifying novels as in picaresque novels. However, whether these descriptions of desolate lands involve an explicit evocation of misery or simple allusions, the intention is certainly not the same among the different novelists, depending on whether they seek to provoke the emotion of the reader (pathos in Marmontel, indignation and incitement to action in Genlis) or use the geography of poverty as a simple narrative datum that triggers action (Les Gascons in Holland) or perpetuates it (L'Aveugle parvenu). Poverty, neglected by critics, therefore turns out to be a remarkable springboard for romance, offering a whole range of possibilities to the novelist to entertain, touch, and edify a reader eager for sensations, contrasting with the scholarly dissertations of academics on the misery of the popular peoples in that time. And conversely, the literary resources offered by the novel are put, in various ways, at the service of thinking. The most brilliant novelists, such as Montesquieu, Pré vost or Rousseau, thus deliver novels in which the relationship between the State and poverty is not simply a supporting pillar to the story. Their works are based on a real entanglement of this material and the most diverse genres can lend themselves to this task according to the talent of the writers. The theme of poverty is not a motif in the decorative sense of the term but the very object of the discourse in the passages concerned. Therefore, among the great minds of the century, one should not expect a transfer from their political theoretical writings; we are dealing properly with another point of view, heuristic for them and enlightening for the reader, even if they do not always push their thinking as far as in their essays. These novels do not merely present a reflection of the society but they allow the reader to really think about the issue and lead them, for their greatest pleasure, where they did not expect it. Can we say, however, that the novel of this time is thereby made the spokesperson for the thought of the Enlightenment? Our investigation shows that, while this is not expressed directly through long developments, it is not overused but deeply active by the formulations and reasoning that it induces, accompanies and promotes.

French abstract: Dans son ré cit à inspiration autobiographique La Femme gelé e, Annie Ernaux donne la parole à un personnage fé minin qui fait, au quotidien, l’ expé rience douloureuse des rapports iné gaux entre les hommes et les femmes. La narration, suivant le passage chronologique de l’ enfance à l’ â ge adulte, permet de rendre compte du renversement du destin d’ une jeune fille avide de liberté qui se retrouve, une fois marié e, isolé e du monde et alié né e par un rô le social traditionnel. Publié en 1981, ce texte offre à l’ é crivaine un espace pour faire le point sur l’ é volution de la condition fé minine dans la socié té franç aise au cours de la deuxiè me moitié du XXᵉ siè cle. L’ analyse suivante permet de mettre en lumiè re comment, par le biais de cette oeuvre litté raire engagé e, Ernaux reproduit le vé cu commun des femmes dans les anné es 1960 et 1970 pour dire la difficulté que celles-ci ont de se dé faire des phé nomè nes de pouvoir et de domination qui subsistent au sein du couple et de la socié té patriarcale. Les sté ré otypes de genre, reproduits par les personnages de ce roman, permettent à l’ é crivaine de dé crypter de quelles faç ons les clivages dé finis socialement entre les hommes et les femmes dé bouchent sur des iné galité s. English abstract: In her third autobiographical-inspired novel published in 1981, La Femme gelé e, the French writer Annie Ernaux gives a voice to a wife imprisoned in her unsatisfying life and dispossessed of her aspirations. Coming from a modest background, this female character who, thanks to her marriage, gains access to the middle class, becomes aware, over the years, of the cleavages between the genders which favor man in terms of power and freedom. By describing, in detail, the boring and routine daily life of the young wife and mother marked by the unequal sharing of domestic work, the writer highlights the limits of female emancipation during the second half of the twentieth century and tackles the question of gender stereotypes and parental models conveyed within the family and in society. Our analysis of Ernaux's text, in the light of gender studies, will allow us to identify the causes and consequences of the protagonist's submission to the female model imposed by the patriarchal system. We will demonstrate that, through this story of universal significance, the author denounces the social norms and mentalities which impose, on a daily basis, unequal relationships between men and women within the couple and in society. In this text, the narration, following the chronological transition from childhood to adulthood, allows us to see the reversal of the destiny of a young girl eager for freedom who finds herself imprisoned in her life as a wife and mother. If the narrator grew up in a modest environment, surrounded by parents who divide up household chores and work, it is during her process of socialization outside the home that she will become aware of gender stereotypes conveyed by collective thought. Indeed, we learn that it is at school and with the families of her friends that she will become aware of the divisions that exist between men and women and that she has been brought up in an “ abnormal manner” , without respect for differences by parents who form an “ atypical couple” . Realizing that she does not receive the same education at home as her friends, the protagonist fears being rejected by society because she “ lacks something” . She tries to make up for it by following the example of her friend Brigitte who is proud to be able to follow, from an early age, in the footsteps of her mother who takes care of her house perfectly well. As a teenager, encouraged by her friends, the narrator wishes to become “ beautiful” , “ sweet” and “ feminine” to please boys, and applies herself to following the advice she reads in magazines. Although pursuing higher education destines her to become independent, the student is obsessed with marriage, which seems to her, like most of the young women around her, “ obligatory and sacred” . She gets married very quickly to another student from the middle class, thinking that this one will support her in her career. Once settled into her relationship, the narrator cannot count on the help of her companion to organize their life together. On a daily basis, she has to “ learn the role” of a married woman. The appropriation of this new identity does not come without sacrifices. The young woman recounts her difficult daily life as a wife and young mother where she is the only one to take care of her child and do housework. By dissecting the reality of married life in the 1960s and 1970s, Ernaux offers readers a socio-historical testimony on the difficulties of women's struggle for gender equality. La Femme gelé e is an intimate story written in the first person singular by a narrator who confides, in a familiar register and without reservations, on the difficulties of detaching herself from the surrounding social discourse which requires individuals to follow models of behavior. The story told by the main character helps to account for the weight of stereotypes and the submission of women to the female model imposed by the patriarchal system that Ernaux presents throughout his text to denounce and reject them. We find in this novel a violent indictment against the unequal sharing of household chores and “ domestic enslavement” of the woman who has become “ the keeper of the home” in charge of “ the subsistence of human beings and the upkeep of things” . The main character's speech echoes the reasoning of Simone de Beauvoir who criticizes dominant representations of women and motherhood in a patriarchal society. Not wishing to give up her professional plans, the narrator redoubles her efforts to continue her higher education and become a teacher while taking care of her family. The fact that she is not supported by her husband drives a wedge between her and her partner, and it is a still young but disillusioned woman that we find at the end of the novel. If she denounces in a long monologue the inequalities between herself and her husband, however, she does not have the means to revolt. Over the years, she finds herself alienated by the words and injunctions repeated to her by her teachers, her friends, the mothers of her friends, her husband and her in-laws. To refer to the cleavage between men and women, the narrator uses the third person singular and the substantives “ mom” and “ dad” which reduce the characters to their roles. This choice allows her to generalize her experience, since her daily life, which she describes in detail, is that experienced by the majority of women during the second half of the twentieth century. She notes, bitterly, that there is a dichotomy between the roles assigned to each of the parents, the father being the one who commands and who works outside the home, and the mother being the one who takes care of her child and who does domestic work alone. The end of the novel presents a thirty-year-old wife tired of opposing this traditional difference in roles between husband and wife without being able to live with “ a joyous acceptance of roles” . The desires of the young teacher are extinguished and every day she feels more and more isolated from the world “ by the famous halo of the married woman” . She is this transparent being who looks like all those sad women who horrify her at the hairdressing salon, she is “ a frozen woman” . Annie Ernaux has often expressed the wish to change mentalities by writing to speak freely about the condition of women in texts such as Les Armoires vides (1974), L’ É vé nement (2000) or more recently Mé moire de fille (2016). Her third novel, La Femme gelé e, is an autobiographical tale that has enabled the writer to offer readers a precious testimony on the condition of women in France during the second half of the twentieth century which, despite major advances in the field of women's rights did not lead to equality between women and men. Published in 1981, this text is proof that many cleavages between the sexes remained in French society during the 1960s and 1970s, women finding themselves forced to imitate stereotypical behaviors as the narrator of La Femme gelé e does. By criticizing the dominant representations of women and motherhood, the author offers readers an engaged discourse that consists of saying in order to react. This novel, which makes it possible to denounce the phenomena of power and domination, announces the following books of Ernaux.

French abstract: Composante d’ une compé tence linguistique, la grammaire, a longtemps é té une constante de la classe de langue, mais aujourd’ hui, elle né gocie sa place dans les nouvelles approches didactiques connues par leur pré fé rence pour le sens au dé triment de la structure. Dans cet article, nous avons tenté d’ interroger cette place dans la pratique enseignante et dans les directives officielles du Ministè re de l’ É ducation Nationale. Notre travail se base sur l’ analyse de deux documents (le document d’ accompagnement des programmes du cycle primaire et le manuel de 5è me anné e primaire) et sur les ré cits de vie de futurs enseignants-stagiaires. De cette analyse, é merge un certain nombre de constats: un é clectisme dans les mé thodologies adopté es, une é volution d’ une dé marche qui devient essentiellement inductive, mais en mê me temps, une fossilisation des pratiques des enseignants qui suivent une dé marche identique, et enfin une mise en oeuvre parfois « maladroite » des principes mé thodologiques revendiqué s. English abstract: The Algerian school has undergone many reforms that have put the teaching methodologies of FLE in the programs of the three school cycles (primary, middle, and secondary) on the agenda. The class of FLE has indeed seen the main methodologies that have marked the teaching of languages: from traditional methodologies to SGAV methodologies, to communicative approaches to the actional perspective. The official documents of the French Ministry of Education (MEN) and the new textbooks published since the 2003 reform are inspired by the results of research putting forward the socio-constructivist paradigm (Z. Hassani, 2013). Even if the actional perspective is not explicitly mentioned in these documents, we nevertheless find the major principles underlying it (socioconstructivism, project-based pedagogy, task-based learning, socialization of classroom products, the learner as a social actor, etc. ). Classroom practice is supposed to have evolved through the methodological paradigms that the school has experienced, and it is this evolution that we intend to investigate in this work. The practice we are interested in is the teaching of what is called, in the official documents of the MEN, "the facts of language" and which concern everything that has a link with linguistic learning, namely grammar, conjugation, spelling, and vocabulary. We have chosen to work on the teaching of grammar in the primary cycle as an example of this knowledge and know-how contributing to the development of linguistic competence. In this article, we attempt to read the MEN directives concerning the teaching of grammar and to question the practices of a group of student teachers when teaching this skill. The objective of this investigation is to see if the teaching practices of these trainees are congruent with the MEN guidelines and if they respect the principles of the claimed approaches. To do this, we began with a theoretical review of the teaching of grammar in the language classroom and then analyzed the MEN's directives on language learning, particularly grammar, based on two documents: the document accompanying the primary school program and the 5th year primary school textbook (now 5th AP). We also present an analysis of the life stories of future student teachers of French about their experience of teaching grammar during their internship in elementary school. We carried out this investigation with students enrolled in the 3rd year of the French degree program at the É cole Normale Supé rieure de Bouzaré ah (ENSB). During this last year of their university curriculum, these students are required to carry out an internship in elementary school and we asked them to write life stories in which they had to relate the course of the sessions presented during the internship. We were able to obtain 69 life stories accompanied by the pedagogical sheets used to produce the lessons. We retained the accounts concerning the grammar sessions, of which there were 13, but we also used the other language learning sessions to check whether the same approach was adopted for the teaching of all the knowledge and skills that make up language competence. Our analysis of the life stories focused on three areas: the materials used in the grammar sessions, the types of activities offered to the students, and the approach taken to teach the targeted grammatical point. What emerges from the analysis of the MEN documents (the accompanying document and the textbook) is that the teaching of grammar seems to have relatively followed the methodological developments adopted by the Algerian school, even if there are shortcomings in the adoption of certain principles of these methodologies. Thus, we have noticed that these documents suggest an inductive approach that encourages the learner to construct his knowledge with the help of the teacher's support. There is a desire to place the learner at the center of his or her learning, and to allow him or her to reflect on the language fact studied. The conceptualization phase is indeed present in the MEN guidelines and all the grammar sessions in the manual through the phases "I observe and analyze" and "I construct my rule". Nevertheless, we found insufficient support in the instructions in the manual and among the trainees. This phase seems to be problematic because the questions that are supposed to lead to the deduction of the rule are not always sufficient. We also noted that the instructions in the textbook in the analysis phase did not make it possible to highlight the role of the grammatical point in a communication situation, especially since the latter was generally absent in the observation phase because of the use of decontextualized sentences as support. The life stories, on the other hand, showed the predominance of using texts to approach the teaching of grammar. This choice of the medium among student teachers maybe since they receive guidelines in their initial training, or to the fact that they are more respectful of the guidelines contained in the accompanying document which is their first reference in the realization of the programs at the different levels. However, we noted the absence of authentic documents in the grammar sessions in the manual and those presented by the student trainees. The activities in the textbook and those presented in the life stories are of the same type: identification in the observation phase, analysis, and manipulation, and finally production. These activities generally correspond to the guidelines in the accompanying document, with a few exceptions. For example, the evaluation phase, mentioned in the accompanying document, does not exist in the manual or the life stories. Nevertheless, the trainees seem to consider the manipulation and production activities as being evaluation activities, which suggests that for them the learning activities end after the construction of the rule. We can perceive, as far as the MEN documents are concerned, a desire to align with the new methodologies and we quickly spot the borrowing of the directives of the tutelage in the trainees' practice. However, it is important to emphasize that the implementation of these methodologies in the manual and the trainees' practice reveals anomalies that run counter to the claimed methodological principles: absence of work on the link between the communication situation and the fact of the language studied, absence of spontaneous production that proves the appropriation of the fact of language, and fossilization of the practices that show an identical approach for all language learning sessions. Classroom practice has certainly evolved and followed the instructions of the MEN, themselves inspired by new didactic approaches, but it resists certain methodological principles that remain difficult to apply in a language classroom with centuries-old teaching traditions. It seems to us that the teaching of grammar is dressed up with new concepts but it keeps a more or less fixed structure which curiously reminds the one known in the traditional methodologies. Apart from the analysis and conceptualization phase, which comes before the construction of the rule, the following stages have the air of rule application activities, which, moreover, end with the formulation of sentences containing the grammatical point studied without any contextualization. The communicative situations do not play a very big role in this process and it remains difficult to establish the link between the fact of language and its realization in the communication or its utility for the project.

French abstract: L’ escalier, susceptible d’ ê tre porteur du sens est un lieu favori parmi certains auteurs, qui mé rite un regard à part et particulier. É tant frappé s par l’ abondance du mot « Escalier » dans La Maison rose de Pierre Bergounioux, nous avons é té amené s à vé rifier cette fré quence dans les autres ré cits de Pierre Bergounioux. Ainsi avons-nous fait une lecture attentive des ré cits de Pierre Bergounioux depuis 1984 jusqu’ à 1996 pour y dé celer la trace de l’ « escalier ». Par la suite, nous avons choisi à part La Maison rose, les autres ré cits intitulé s Catherine, Ce Pas et le suivant, La Bê te faramineuse, Miette et La Mort de Brune dans lesquels « l’ escalier », à premiè re vue, comme un é lé ment banal, nous semble-t-il, offre un sens significatif et joue un rô le dé finitif. Ainsi, par une dé marche totalisante et synthé tique, nous avons analysé tous les cas où le terme « Escalier » est apparu dans lesdits ré cits et puis nous avons classifié les ré sultats trouvé s selon la fonctionnalité que l’ escalier s’ attribue dans chaque circonstance. Par consé quent nous avons ré ussi à reconnaî tre neuf fonctions pour les escaliers de Pierre Bergounioux: l’ escalier de contact, de peur, d’ obstacle, de suicide, de sensation, de dé couverte, de classe, d’ honneur et enfin l’ escalier de bonheur. Aprè s cela, notre attention a é té attiré e sur la dualité oppositionnelle caché e au sein de chaque fonction trouvé e. Donc en nous appuyant sur la mé thode bachelardienne, nous nous sommes efforcé s de percer dans l’ imaginaire de l’ é crivain et de dé gager les dialectiques contradictoires né es de chaque fonction. Et les classifier sous l’ axe horizontal ou vertical. English abstract: As one of the three Aristotelian units, namely the unit of place, time and action, the space in which history takes place has always been interested as the object of study. And among the spaces, the staircase, by its structural form, capable of conveying meaning, is a favorite place among some authors, which deserves a special look. Integrated in the lineage of the authors of "narratives of filiation", those whose arrival on the literary scene coincides with the eighties, Pierre Bergounioux, the major but discreet writer of the most recent French literature, hardly exceeds the university framework, compared to his literary counterparts like Anni Ernaux, Pierre Michon and Franç ois Bon, however the richness of his works is inexhaustible. Being struck by the abundance of the word "Staircase" in Pierre Bergounioux's La Maison rose, we have been led to verify this frequency in the other works of Pierre Bergounioux. We have therefore carefully read the stories of Pierre Bergounioux from 1984 until 1996 to detect traces of the "staircase". The research has led us to results that should be considered. And we noticed that from the first story of Pierre Bergounioux, Catherine, the staircase shows itself in a striking and not insignificant way. Although sometimes it just fulfills its ordinary task of going up and down as a means of gaining access to upper or lower floors, but most of the time the staircase is a favorite place to perform some function. Subsequently, apart from La Maison rose, we chose the other tales entitled Catherine, Ce Pas et le suivant, La Bê te faramineuse, Miette and La Mort de Brune in which "the staircase", at first glance, as an element banal, blurred by the events of the story, without considering the number of its recurrence beforehand, it seems to us, offers a significant meaning and plays a definitive role. Thus, by a totalizing and synthetic approach and by using the scenes extracted from the selected stories, we analyzed all the cases where the term "Staircase" appeared in the said stories and then we classified the results found according to the functionality and the characteristic that the staircase attributes to itself in each circumstance. Therefore, we have succeeded in recognizing nine functions for Pierre Bergounioux's stairs: the contact staircase, the fear staircase, the sensation staircase, the obstacle staircase, the suicide staircase, the staircase of class, the staircase of discovery, the staircase of honor and finally the staircase of happiness. But the research did not end with these findings concerning the functions of Pierre Bergounioux's stairs. Sensitized by the learnings of Structuralism about binary oppositions as the main core of human thought, our attention was drawn to the contradictory duality hidden within each function found. In other words, the existence of a function, or to put it better, the existence of the staircase, is directly related to the existence of a binary opposition. And among those who value dualism, it is precisely Gaston Bachelard who believes that the image which can moreover be a space, as he has shown us splendidly in his Poetics of space, takes on all its "dynamism" of "dialectics of opposites ". So we just have to rely on the Bachelardian method to penetrate the imagination of the writer and identify the contradictory dialectics within each function. So the self / other binary opposition emerges from the contact staircase. The one of peace / anguish concerns the staircase of fear. That of escape / confinement is revealed from the obstacle staircase. The contradictory duality of life / death arises from the suicide staircase. That of sensitivity / insensitivity manifests itself in the staircase of sensation. The knowledge / ignorance arises from the discovery staircase. And the dominant / dominated, job / passion, city / country dialectics are formed around the stairs of class, honor and happiness respectively. Lastly, and while fully respecting Bachelard's approach, after having found the opposing couples, born of each function, we only have to classify these oppositional couples according to two horizontal and vertical axes in order to better and better decipher the image of the stairs. Thus under the heading of "The staircase: The horizontal axis" are located all the functions that concern the staircase where it is imagined "as a concentrated being". In other words, all cases where it is a question of a staircase in which a fact or a situation is formed, without taking into account the sense of linearity between the two poles of contradiction. Like the staircase of contact, fear, obstacle, suicide, sensation and that of discovery. And under the heading of "The Staircase: The Vertical Axis" meet the stairs which even before being seen as a space, they show themselves as a line of distance and separation between the two sides of established polarity. In other words, when the staircase is imagined "as a vertical being". It is under this axis that the stairs of class, honor and happiness are placed. So after having become aware of the presence of the staircase and following it the discernment of the functions and oppositional dualities attached to these functions, we allow ourselves to denounce the inclination, in a way, of Pierre Bergounioux for the spatial image of the stairs. Indeed, the image of the staircase fertilizes the imagination of the writer and shows itself as the revealer of an intimacy. Far from being a frozen image, sometimes like a space of "topophilia" and sometimes like a space of "topophobia", the staircase is certainly a favorite space for the materialization of the writer's imagination. Reinforced by the process of "dialectization", the image of the staircase is a means, through which, Pierre Bergounioux, manages to explore his past. In the world of Bergunian stories, the fear, the anguish, the boredom of living in small distant towns, knowledge, death, sensations and social advancement are associated with the image of the staircase. So we can conclude that, on the one hand, the staircase, by its structural form, is very likely to be a favorite image of the authors of "accounts of parentage". And, on the other hand, it seems that the Bachelardian method, giving importance to the imagination, is a suitable approach for this kind of narrative which so cherishes the past.

French abstract: Etant un lieu d’ instruction et de transmission de savoirs, l’ é cole contribue à la construction des valeurs, à l’ enseignement des moeurs et de leurs ancrages dans l’ esprit des enfants. Cet objectif se ré alise progressivement en ouvrant les portes des univers de l'é crit et notamment celles de la litté rature qui offrent aux enseignants une multitude de pistes d’ exploitations pé dagogiques. Par la richesse de ses thè mes et sa dimension maniché enne, le conte est l’ un des genres litté raires dont l’ usage à des fins didactique offre de nombreuses potentialité s pé dagogiques. En plus de son rô le dans le dé veloppement de l’ enfant et la construction de sa personnalité , le conte apporte des ré ponses pertinentes aux besoins é ducatifs des é lè ves et satisfait ainsi leur curiosité intellectuelle. Dans le pré sent article, il sera question d’ aborder le conte dans une perspective d’ é ducation à l’ environnement dans le cadre de l’ apprentissage scolaire. Le conte qui fera l’ objet de notre é tude est celui de Mondo et autres histoires de Jean-Marie Gustave le Clé zio, un recueil de ré cits publié en 1978 et dont les thè mes pré sentent une nouvelle vision du monde qui repose sur le rejet de l’ univers des adultes, des socié té s urbaines et surtout la brutalité des civilisations industrielles. Dans ce recueil, l’ auteur ré serve une large part à l'onirisme, à l’ anthropomorphisme et au mythe pour faire dé couvrir d’ autres modes de vie plus proches de la nature dont la splendeur et la magie assurent la ré conciliation de l’ homme moderne avec soi-mê me mais aussi avec les diffé rents é lé ments de la nature. Cette dé marche é ducative adopté e vise à faire revivre aux é lè ves les expé riences des personnages de ce recueil ainsi que leurs interactions avec les é lé ments de la nature et qui serviront de modè les de conduites à adopter pour une meilleure é ducation à l’ environnement. English abstract: Being a place of instruction and transmission of knowledge, the school contributes to the construction of values, to the teaching of morals and their anchorages in the minds of children. This objective is gradually realized by opening the doors of the worlds of writing and especially of literature which offer teachers a multitude of avenues of educational exploitations. Through the richness of its themes and its Manichaean dimension, the tale is one of the literary genres whose use for didactic purposes offers many pedagogical potentialities. In addition to its role in the development of the child and the construction of his personality, the tale provides relevant responses to the educational needs of the students and thus satisfies their intellectual curiosity. The tale is also a kind of narrative that takes students to a more enchanting and peaceful faraway place. It is achieved, in particular, by its principle of symbolization and its positive references, the tale encourages students to question the norms and values of the society in which they evolve, which will allow them to flourish and to understand the laws of nature and men. In this article, we will discuss how to approach storytelling from an environmental education perspective in the context of school learning. The tale that will be the subject of our study is that of Mondo and other stories of Jean-Marie Gustave le Clé zio, a collection of stories published in 1978 and whose themes present a new vision of the world based on the rejection of the universe of adults, urban societies and especially the brutality of industrial civilizations. In this collection, the author dedicates a large part to oneirism, to anthropomorphism, and to myth, to make discover other lifestyles closer to nature whose splendor and magic ensure the reconciliation of modern man with oneself, even also with the different elements of nature. This educational approach aims to bring to the students the experiences of the characters in this collection as well as their interactions with the elements of nature and which will serve as models of conduct to adopt for better education to the environment. To do this, we will first address the environment as an educational concept by first proposing a brief history of its integration into school practices and then setting up the considerable impact of the opening of the school to nature by introducing new relationships between students and their natural environment. To better understand this opening, we also propose to see closely the place that environmental education occupies at school and how it is designed and integrated into the different disciplines with a double appropriation «teaching/ education» involving several actors in the different educational processes. These processes are essentially based on learning through discovery and experience, which will enable the student to acquire new information by modifying his representations and adapting to new conditions imposed by the environment. It is therefore an educational momentum that makes today’ s school a learning space that works in complementarity with the student’ s environment. To achieve this, the school offers numerous and varied means and supports. The designers of the contents to be taught using the cultural and literary heritage make didactic materials that will constitute knowledge as a reference for the student. In this perspective, we will focus, as mentioned above, on storytelling, considering it as an educational mediation tool. Our experiment, which took place in a school with students from the last year of primary school, aims at the immersion of the child, as a pure and innocent being, in a model of harmonious life, far from the distorted spaces that modern life knows, to provide appeasement and bliss, essential elements for the development of the creative mind and reflexive abilities. This experiment is preceded by a reading session in class. The text studied is a tale taken from the seventh story of the collection (People of Heaven, pp. 219-243) and whose main character is called Petite Croix (meaning little cross), a young blind girl who often isolates herself in a place in the middle of nature to look for the blue color of the sky. Her frequent isolation represents for her an escape, an interior journey between heaven and earth, and during which she discovers the beauty and splendor of nature. During this isolation, Petite Croix makes time, discoveries, and very enriching encounters with anthropomorphic characters. Each of these encounters and discoveries, is a new adventure for her, allowing her to find answers to her many essentially existential questions and which explanations are often completely different from those presented to her by her life in her immediate environment. As part of our study, we chose the character’ s meeting with the bees who often come to visit her (text 01 in the appendix). The interactions between Little Cross and these small creatures show explicitly the harmony that can be established between man and nature. Rich in meanings, these interactions contain many messages with an essentially educational dimension. Their uses for educational purposes are of considerable value as they allow students to co-build knowledge and know-how in the context of "directed practices". In this same context, we proposed to the students a session organized in the form of an educational outing to transpose the achievements, obtained during the reading session, in a natural environment. This transposition is based in large part on the restitution of the lived experience of the main character. This is to see closely the impact of the story read earlier on the modification of students' behavior in an appropriate environment. This behavior change is essentially the result of the interaction between the subject, the environment, but also the task that the subject has to perform. For this, several activities were therefore carried out with the fundamental aim of preserving the elements of nature. The pedagogical methods applied in this experiment are direct experience learning of the environment and transmission learning embedded in a teacher-guided process. This guidance was a good opportunity for students to discover and use new learning strategies to encourage them to learn how to live in communities, position themselves in the group, and interact through collaborative learning. Having had the opportunity to leave the routine of the class by going to discover another more natural and welcoming space, the students participated in the experiment with great dedication and enthusiasm by being actively involved in carrying out the task entrusted to them. The data obtained from the experiment clearly show that the process of school guidance and mediation implemented in an approach to environmental education has also been able to offer the teacher new perspectives that allow the student to invest themselves according to their physical, psychological, and cognitive abilities in a process that consolidates the link between the act of use and the act of learning. These new educational perspectives now require the development and design of new educational materials. This pre pedagogical task can only be ensured by judicious and innovative choices. The tale, by its characteristics and the diversity of its themes, certainly offers many avenues of exploitation and is a particularly important trigger for students especially when it relates facts directly related to their personal experience.

French abstract: Paul Verlaine est avant tout un poè te: son oeuvre offre moins d'une dizaine de courts recueils publié s entre 1866 et 1890. Ce qui est frappant chez Verlaine, c’ est jouer subtilement sur les mè tres pairs et impairs, les rythmes rompus et les formes courtes. Le systè me mé trique, par ses contraintes, constitue en effet un espace privilé gié pour faire é merger la singularité du locuteur poé tique. A ce titre, le choix de l’ impair chez Verlaine est tout sauf anodin: il prend part à ce dispositif gé né ral d’ indé cision, d’ hé sitation quant au rythme ou à la diction. Bien qu’ on pense les rimes impaires sont fondamentalement incomplet. En somme, l’ art mineur souhaité par Verlaine trouve à s’ exprimer stylistiquement dans sa propension pour les pré fixes (mi-, demi-) et surtout les suffixes diminutifs (– ette, – otte, – asser, – eter, – iller, etc. ). De tels mots, choisis à dessein, s’ intè grent dans une esthé tique gé né rale de miniaturisation: les ê tres et les choses semblent frappé s d’ amoindrissement, de té nuité . Mais ce goû t pour les suffixes diminutifs souligne é galement le dé sir d’ atté nuation constant chez Verlaine. Il faut rappeler que quelques oeuvres de Verlaine, malgré les apparences traditionnelles, nous signalent plutô t la modernité et la liberté de ce poè te. Dans cet article on va faire une petite recherche stylistique sur la poé sie verlainienne à travers les mè tres et les minuscules des poè mes de ce poè te. English abstract: Working smartly on odd and even rhymes, broken rhythms and short sentences, Paul Verlaine introduced himself as a unique poet. His writings include 12 short collections published between 1866 and 1890. The system of rhymes and rhythms with its limitations forms a noble atmosphere to show the poet's competence. Therefore, according to Verlaine, choosing odd rhymes is absolutely right. Moreover, he believes that rhymes and diction are not the two most important elements, although it is generally believed that odd rhymes are basically incomplete. The odd rhyme is experienced as incomplete, fragile – mostly in versification, because French poetry has historically given preference to the measures of four and six syllables, subunits of traditional verses (alexandrian, decasyllable). At Verlaine, with an "easy" style class, we are passionate about the music of verse. But we knew that rhythm, harmony or dissonance are for him a means of expression that only holds us back to the extent that is just an alignment of sounds. Music doesn’ t rule Verlaine; Verlaine created it to serve him. It is not an absolute: it evolves with him. Verlaine's best-known book, the most perfect collection among those he published, is “ Romance sans paroles” . This collection brings the musical and suggestive art elaborated in “ Les Poè mes Saturniens” to its highest degree. “ Les Poè mes Saturniens” contain all kinds of contradictions; we will find key points, but above all a very wide variety in the forms, themes and even the conception of the world that is explained there. In short, Verlaine is keen to show his favorite minor art in his style by using prefixes (demi, mi) and suffixes like (– ette, – otte, – asser, – eter, – iller, etc. ). Such words selected intentionally are delicately used in general aesthetic of miniaturization. Humans and objects look powerless and humiliated. However, such frequent using of diminishing suffixes show Verlaine’ s tendency to soften things: words, perceived as too rigid, must be modulated, remodeled, minimized. All these lexical modifications thus contribute to the generalized impression of a poetry that would be only whispering and muted: poetic writing is elaborated only at the cost of a cautious hesitation. This lexical minimization is played out at the very heart of the noun, by the addition of prefixes and suffixes. It is worth mentioning that this paradigm of the affixes leads us to approximation: thus, many words to which Verlaine adds a sow of "miniaturization" are affected by approximation, uncertainty. The prefix demi-, common in Verlaine’ s works, clarifies the e boundaries between the paradigm of decrease and that of approximation. Applied to clearly measurable names that do not admit degrees, clearly results in the halving. These jobs, rather rare, appear especially in prose works. In all these instances, we can visualize the both parts of the division taken place. The "mi-pourri" expresses a passing state, and makes us see the slow deterioration of the dream; the minor paradigm here joins the paradigm of transformation, by which Verlaine strives to render the passage of time. In Verlaine’ s works, the uses of demi-is very popular before a noun whose limitations are not easily boundable. “ demi-jour” refers to an uncertain state of the day, not day yet and not quite the night. More than a decrease, the " demi-jour " therefore comes out of the paradigm of approximation. In addition to uncertain atmospheric states, the prefix demi-is particularly suitable for expressing disturbed states of consciousness and for highlighting the confusion that surrounds the subject on the verge of drowsiness. As we can see, the prefixes mi-and demi-are popularly used in Verlaine's works. They express in turn the decrease ("yeux mi-clos"), the approximation ("demi-brouillard") or the passage of time ("rê ve mi-pourri ", "demi-jour"). Fully participating in his attempt to undo polarities, they allow the poet to formulate transient states, passages in-between. Alongside the prefixes, the diminutive suffixes seem particularly apt to express the humility of which Verlaine claims throughout his works. What is notable is that diminutive suffixes can express degrees by reducing the meaning of words; therefore, it is quite necessary to understand precise and subtle points that dominate Verlaine's poetry. Diminutive suffixes therefore play a full role in the expression of a gradual, subtle perception of the world, and they evoke the question of prototypical categories again. Applied to the noun, to the adjective or verbs, they provide us with a diminishing level of lexical semantics. Applied to the nouns and adjectives, they produce a miniaturizing effect. Applied to the verbs, they contribute to the widespread impression of uncertain scenes or mood. In Verlaine's works we clearly come across with a large proportion of nouns and adjectives suffixed in – ette, which is "the suffix that holds a grate position in the diminutive morphology of current French language. It is worth mentioning Some usages, more or less constrained, do not fall strictly under the stylistic choice of words in Verlain’ s; these are the derived words whose meaning has practically become, almost autonomous. For example, “ fillette” which expresses the diminished meaning of “ fille” follows a rule which cannot be applied to, a “ toilette” which does not imply the diminished meaning of “ toile” . These words suffixed in “ – ette” can also, by their repetition, help to develop a minor atmosphere in a series of poems. However, if the theatrical aesthetic could lead to smile, it is indeed a poetic "minor mode" that is proposed here by Verlaine: also the musical instruments that appear bear in their names diminutive morphemes ("tambourines” , a "mandolin"), contributing to the effect of "mute" that characterizes the collection. Another thing that is remarkable about Verlaine is the use of several optional diminutive forms. In Verlaine's poetry we find lots of adjectives that end in – ette. The desire for diminishing and decrease also affects verbal predicates. Throughout the poetic works of Verlaine, many verbs are thus equipped with a diminutive morpheme that humiliates their meaning. In Verlaine's poetry, we find especially the musicality of odd verses which are more flexible and less imposing than even verses. He shows us that music and rhythm are two inseparable elements. He doesn’ t give up repeating: "Poetry is rhythm", "poetry is music before all things". The study of Verlaine's poetry introduces an impressionist who pays attention to painting and seeks a new vision of life. Verlaine internally breaks the traditional rhythm of the verse, especially the Alexandrian. He takes great liberties with rhymes; he doesn’ t always respect their alternation and he sometimes reduces them to sounds. He has weakened many other rules and destroyed old rhythms. Thus, he creates new harmonies to express his inner vision and to reveal his poetic dream. It is worth mentioning that in spite of their traditional appearances, some of Verlaine’ s works show his modernity and liberty in their full inner concept. Verlaine is a Symbolist and his "Poetic Art" exert a great influence on the Symbolists. In reality, Verlaine does not disappear in his works entirely; the odd, the short verses, the rhythmic irregularity, the multiple modalizations, continue silently and deliberately in his works. Although the reading hypotheses are probably less relevant to some parts, they help clarify some of the contradictions prevailing in the poems.

French abstract: En passant du structuralisme de Saussure et du discours narratif proposé par Greimas, la sé miotique en tant que science de l'é tude du signe s’ approche du domaine phé nomé nologique. La sé miotique phé nomé nologique vise plutô t à mettre en relief l’ interaction entre l’ homme et le signe. En tant que l'un des domaines des é tudes sé miotiques, la sé miotique de l'espace se veut une approche à é tudier le processus de la construction du sens dans/de l'espace. Vu l'importance de la notion de l'espace chez Jean Echenoz, é crivain franç ais du XXè me siè cle, cette é tude se propose d'é tudier la sé miotique de l’ espace dans L’ Occupation des sols, l'oeuvre é minente de cet é crivain, selon l'approche proposé e par Mannar Hammad. Les questions principales qui se posent sont donc comment se forme le processus de la configuration du sens de l’ espace dans cette oeuvre et par quels moyens le concept de l’ espace s’ est pré senté comme sé miose dynamique et non statique dans cette oeuvre. English abstract: After Saussure's structuralism and the narrative discourse proposed by Greimas, semiotics as the science of the study of the sign approaches the phenomenological domain. Rather, phenomenological semiotics aims to highlight the interaction between man and sign. As one of the fields of semiotic studies, the semiotics of space looks to study the process of construction of meaning in/of space. While theoretical discussions of space became more and more serious, some writers began to reconsider the meaning of space in their works. They tried to make the space so central and decisive that the unfolding of the story depended on the presence of the space. Jean Echenoz is known as a writer haunted by space. This is a noticeably remarkable element in the literary world of the writer. Born in 1947 in France, Echenoz has won nearly twelve literary awards since the day he entered the world of literature. He chooses to study sociology at Aix-en-Provence. Then seven years after moving to Paris, where he continued his studies at the Sorbonne, his first work was published: Le Mé ridien de Greenwich (1979). The book immediately won the Fé né on prize, and it made known to the interlocutor the arrival of a novelist whose work was refused by all publishers before the green light from É dition de Minuit. The author who won the Medici Prize in 1983 for Cherokee and that of Goncourt in 1999 thanks to the writing of Je m’ en vais, Echenoz also won the Bnf Prize in 2016. If almost all of Jean Echenoz's work is marked by the image of space, but this one is not a simple decoration, which is placed within the echenozian writing, but one of the fundamental elements building the sense of the story. Among his works, L'Occupation des sols (1988) treats space in a rather innovative way and indeed manifests the writer's attention to space as a cherished stylistic element. The story of this work revolves around the portrait of a woman, painted on a wall in a district of Paris undergoing renovation. The woman was burned and died in a building fire, which changed the lives of her husband and her son who, changing their home, watched the image of Sylvie disappear on the wall every day. This study is devoted to studying the semiotics of space according to Hammad's approach in this Echenozian work to study how space indeed plays as a scaffolding of the meaning of history. Through the analysis of L'Occupation des sols, we will try to answer the following questions: How is the sign of space expressed in the narration of the story? How does the concept of space present itself as fluid and dynamic semiosis in this work? The main objective is therefore to show how semiotic analysis participates in the reading and understanding of this work. To achieve this goal, we will first explain the theoretical foundations of the semiotics of space proposed by Manar Hammad. A brief narratological analysis of the spaces of the narrative will then help us to study the four norms proposed by Hammad and by this we will explain the intermediate space and the final space. We will then aim to treat the space from the enunciator and enunciator perspectives and finally, the relationship between space and action under the two planes of ‘ Expression’ and ‘ Content’ will be verified. This study will indeed allow us to study in detail the process of the formation and configuration of the sense of space in the work of Echenoz. The story in L'Occupation des sols is around a few spaces that influence the action of the characters. Echenoz organizes the events of the story in such a way that the reader can distinguish an explicit connection between the character's decisions and the space. In other words, it does not show itself in the story as an elementary decoration, but as an essential element intervening in the unfolding of the story and even in the configuration of the meaning of the story. From a general point of view, the semiotics of space proposed by Manar Hammad, boils down to this novelty that space is considered dependent on the action and that the topoi circulate between the subjects, which by changing the function, transform the sense of space. But in reality, this semantic view of space is more complicated than that, not only because of its architectural aspect but also, for the semantic metalanguage it tries to achieve. It is a multi-layered approach whose stages have corresponding relationships. Space, as a non-empty continuum, is suggested by Hammad, as the extent of the movement of men between things. Hammad sees an undeniable connection between space and action. He defines space according to the action that takes place there. In other words, he believes that the meaning of space is defined by the action we take in space. This action can be performed either in space or in space. This is how he considers the two planes of Expression and Content to distinguish the action performed. This study clearly shows that for the Echenozian character, space is an object of sentimental interaction. Echenoz does not use space as a pitiful or mediocre setting in his story but as an indispensable element. It seems to us that Echenoz builds the foundation of his stories on an almost perceptible interaction between character and space. He does not need other characters to complete the flow of the story, on the contrary, it is the space that plays the role of the interlocutor for the so-called main character. The interesting point is that Echenoz does not give human characteristics to his spaces for them to affect the reader. In fact, by keeping the space, as it is, it arouses the feelings and curiosity of its interlocutor to follow the narrative, but in addition, it builds the meaning of the story. From a deeper point of view, the space in Echenoz's work seems like Dark Matter-which is the essential component of the universe and which is not easily perceptible, but in measuring its gravity on other galaxy objects, we prove its existence.

French abstract: É ric-Emmanuel Schmitt et Nasser Ghalamkari, deux é crivains contemporains revisitent les problé matiques de leurs é poques par une ré flexion sur la figure de l’ immigré , qui est capturé entre deux cultures et deux pays, victime des forces qui le dé passent et soumis à un voyage plein d’ é preuves comme celui d’ Ulysse. L’ itiné raire du voyage forcé des personnages de Schmitt et de Ghalamkari dé crit l’ histoire de l’ errance en vue d’ atteindre la terre promise. Le dé cryptage des ré cits de voyage de l’ immigré dans ces deux romans montre les é tapes de dé racinement socioculturel chez les deux hé ros qui s’ engagent dans la voie des voyages initiatiques, comme expressions symboliques de leurs transformations. Comment les personnages surmontent-ils l’ é preuve de cette quê te identitaire au cours de ce voyage? Les deux oeuvres deviennent un vaste territoire à explorer à travers l’ itiné raire du voyage des deux hé ros du Moyen-Orient, en proie à l’ absence d’ identité , qui commencent un voyage à la recherche du bonheur. Cette recherche nous permet d’ analyser comment ce voyage bouleverse les repè res du migrant et favorise la perte d’ identité chez l’ un des protagonistes ou l’ é mergence d’ une identité chez l’ autre. En é tudiant les é tapes de leur voyage, d’ aprè s la thé orie de Campbell, critique jungien, nous essaierons de montrer le processus d’ individuation au cours de ce voyage pour les hé ros de Schmitt et de Ghalamkari. English abstract: Literature mirrors the human dimension of immigration and reflects the consequences of crossing geographical and cultural boundaries. This spatial and cultural displacement from the original country and the effort to join a receiving culture or country can result in a conflict between the immigrant and the host society. No one could deny the world’ s migrant crisis as we are witnessing waves of immigrants, who are seeking opportunities to start a whole new life somewhere new. No doubt to stress the voyage the immigration has to set out on, which looks arduous and has many ups and downs. The immigrant, who had already experienced poor living conditions in home country, has no choice but to succumb to pressures induced from a long journey full of challenges and obstacles. Challenges lying in wait for the immigrant may target his/her body and at times his/her soul. On occasions, the person may encounter intercultural conflicts, and consequently loses his/her identity or may meet his/her lost self in an unknown path. Meanwhile, authors who are concerned with social issues may consider immigrants as the hero of their writings. They travel with them and surmount the obstacles after the other. The Franco– Belgian playwright, short story writer and novelist, É ric-Emmanuel Schmitt, and the Iranian contemporary author, Naser Ghalamkari, are a perfect example of these authors. Drawing deeply on the issue of immigration, these writers have discussed the problems and issues structuring their home society. Their stories have laid grounds for studying the travel of two heroes from the Middle East, who are looking for happiness. This voyage nevertheless leads to identity crisis for them. The journey of these characters in Schmitt and Ghalamkari’ s works is a representation of arriving at the promised land. These travelogues demonstrate socio-cultural discontinuity and evidence diverse stages of development among the characters. Throughout these internal and external travels, the heroes have undergone various tests and trials. The analysis of these stages could offer insights into the process of identity and the challenge of identification. In his Ulysse from Bagdad, Schmitt beautifully writes about immigration and finds fault with the European Union immigration policy. This novel tells the story of a young Iraqi named Saad Saad who leaves his country in pursuit of happiness somewhere new, comparable to that of Ulysses in the Odyssey. Without a single penny in his pocket, Saad initiates his journey and passes obstacles ahead of him to find himself in the promised land. The same story can be seen in Ghalamkari’ s Visit in Kuala Lumpur where Ghazal and Behzad are the protagonists. They embarked on an adventure into an unknown world to find pleasure and happiness across frontiers. The present work is an attempt to examine how this travel has brought about new changes into the life habits of immigrants, resulting in identity loss in one character and identity formation in the other. The analysis is guided with Joseph Campbell’ s Theory. Campbell made heavy use of Carl Jung’ s theories and introduced his hero’ s journey or the monomyth. He is of the view that all protagonists who embark on an adventure should deal with the same seventeen stages, including three acts: departure, initiation and return. All the stages may not be available during the travel or may follow a different order. The first stage, departure, concerns the protagonist’ s life in the ordinary world with no trouble. Out of the blue, he comes across a problem and challenge, which can be a call to go on an adventure. The protagonist is reluctant to leave his known world and is afraid of an unknown world, hence he declines the request. He soon realizes that he has to leave the known world and gets over the fear as he may be destined for failure. He therefore accepts the call and delves into this adventure. He is not lonely and can be helped by a mentor figure. The wise old man helps this along and gives him a spell to overcome the obstacles ahead of him. With the help of the wise man, he shoots across the guard ahead of him and he passes the first threshold. This is last area that he is familiar with and after crossing it, he enters the unknown world. The belly of the whale is the next stage wherein the protagonists symbolically dies and then must be reborn. The initiation phase is a road of trials and the hero must undergo a series of tests. He successfully completes this stage with the guides of the wise man. One of the trails is temptress, which acts as a symbol for the physical or material temptations of life. The protagonist, who is determined to reach his ultimate destination surpasses the temptations. The meeting with the goddess, which is the symbol of beauty and yearning is another trail, that should be passed. In one step, the hero confronts his father. Father implies the hardest test as the protagonist is not only afraid of the father but also has a faith that the father is merciful. The protagonist endures the crisis and reconciles with him. Having passed all these complicated tests, the protagonist reaches the ultimate boon in which the hero achieves limitless bounty or indestructible life. Any protagonist, as Campbell adds, should pass through these stages, and the protagonists of the present novels are no exception to this rule. They have suffered from countless shortcomings in their societies and are pushed into an unexpected journey. Iraq’ s problems during Saddam Hussein’ s ruling plunge Saad into this adventure. On the other hand, Behzad and Ghazal have no choice but to leave the country as a result of the oppressive society. As expected by Campbell, the protagonist might initially be unwilling to begin an adventure but he accepts to go on a journey and faces the guard of the first threshold. The Red Sea and Jakarta International Airport act as the first threshold in Saad’ s story and that of Behzad and Ghazal. Crossing this threshold which separates the known world from the unknown frightens the protagonists but they successfully achieve it. They receive help and deus ex machina and it is the soul of Saad’ s father who helps him, and Ghazal and Behzad receive help from God. In the last stage, the protagonists are swallowed into the belly of the whale and subsequently move into a sphere of rebirth. This is represented in both stories as Saad and Ghazal are drowned in the Mediterranean Sea and Indian Ocean, respectively. Yet, they managed to scramble back to life. Next, the temptress tries to lead them to abandon or stray from their quest. Ghazal is in pursuit of an easy life in Australia but for Sad, temptress is an Italian woman who promises him happiness. Be that as it may, the heroes pursue their goals and meet the goddess. Saad finds his love Leyla, and Ghazal finds Helen, her travel companion, as a perfect and true Goddess. At last, all the heroes reach their final destination. They are no longer who they used to be in the early stage of their voyage. Although the protagonist, who was in pursuit of his identity, finds the identity, the hero who was looking for happiness loses it. Saad realizes that hope and happiness reside at him not somewhere else. Ghazal abandons all her identity, past and even her name. She chooses a new name and pursues a new goal. As indicated before, the present study explores diverse stages of the hero’ s journey and how the hero looks for his identity. The existing literature has so far focused on the success and failure of the heroes in passing the stages of the voyage. In this investigation, two new novels, with a similar theme on immigration, were comparatively analyzed and discussed.

French abstract: Le romancier franç ais contemporain, Patrick Modiano nous pré sente à travers ses oeuvres romanesques et entre autres, La Ronde de Nuit et Dora Bruder, une â me hanté e par les é lé ments du passé et un goû t penché vers l’ imagination. Celle-ci a le plus grand pouvoir sur l’ auteur mais la part autobiographique est tout de mê me indé niable, entiè rement mé tamorphosé e par l’ imagination. Modiano choisit la forme romanesque et travestit la ré alité . Pré senter les choses telles qu’ elles se passent dans la ré alité historique lui paraî t peu romanesque. Donc, il y a toujours une part autobiographique chez l’ auteur qui transpose, amplifie et s’ efforce de retrouver l’ essentiel des ê tres et des choses à travers leur apparence quotidienne. Modiano mé lange la vé rité et la fiction en une structure variable où domine, de surcroî t, l’ invention, les perceptions et les fantasmes. L’ oeuvre modianesque est fondé e dans une large mesure, sur un seul principe: la mythomanie. La mythomanie est une forme de dé sé quilibre psychique caracté risé e par des propos mensongers auxquels l'auteur croit lui-mê me. Le sujet é labore des é vè nements et des actes qui n'ont jamais eu lieu. En fait, la mythomanie s'avè re ê tre un type de mensonge pathologique dans lequel le sujet croit à la ré alité de sa production cré ative imaginaire et agit partiellement ou complè tement en fonction d'elle. Quel que soit le roman, l’ auteur la met en avant de faç on ré currente. Dans cette recherche, nous allons tenter de comprendre l’ obsession de Modiano pour ce qui touche à cette figure de mythomanie. Pour ce faire, en é tudiant les thè mes « histoire », « espace » et « temps » dans les deux romans susmentionné s, nous essayerons de comprendre la part de la fiction et surtout de la mythomanie dans le monde litté raire de Modiano. English abstract: Mythomania in some authors takes the features of a universe in which everyday life plunges into a world of strangeness where the border between the real and the fictional sometimes seems difficult to define, where the double life or the double reality unfolds in life. Real and living dreamed and where the bifurcation causes events and characters to switch from one to another. This bifurcation stages the following structure: mythomania. In this work, our study of mythomania will be divided into three parts: the first will focus on the historical-socio-cultural context, the second on fiction/reality, and finally the third on a structure of events by focusing on space themes. /time. These three parts will allow us to articulate our analysis of the modern world. One of the authors who took advantage of this narrative technique is Patrick Modiano, a contemporary French novelist, and author of around thirty novels that have won numerous prestigious prizes, including the "Grand Prix du roman de l'Acadé mie franç aise" and "Goncourt prize". Centered on interiority and imagination, his fictional work approaches autofiction through its quest for lost youth. We can cite La Place de l'Etoile, La Ronde de Nuit, Dora Bruder, Fleurs de ruine, Livret de famille, Les Boulevards de Ceinture and Rue des Boutiques Obscure as his most famous novels. Modiano's entire work is based, to a degree, on two principles which are "self-quest" and "mythomania". In his novels, the author repeatedly stages these two principles. By mythomania, we do not mean the proper meaning of lying. It must be said that in the realm of literary creation, the process of producing a work consists of imagination and reality. If fiction occupies an important place in his works, the fact remains that they offer a very realistic vision of the author's universe. It is, therefore, appropriate to question how the mixture of reality and fiction operates, as well as the final impression that emerges from his stories. Modiano chose the darkest period of the war years: 1942-1943 when the Collaboration triumphed without encountering any major opposition. In his work Dora Bruder, he introduces us to one of those buying offices, a black market pharmacy, and the center of the French Gestapo. The story generally takes place there in the recent past but far enough from the time of the enunciation and the author who did not experience the historical events he mentions. It turns out that this remains close to historical reality. Indeed, in the 1990s, Modiano was able to obtain, through his investigative work as well as through the historian and lawyer Serge Klarsfeld, many details about the existence of the young Jewess Dora Bruder. Modiano as the narrator mixes his story with that of Dora's search through exact details of the facts so that the reader sees it as a true story. Rather, it is about capturing the spirit. Anyone can claim a "family romance, " whether you have parents or not. But the peculiarity of Patrick Modiano's family novel lies in its inscription in history. Without the German Occupation, Albert Modiano would have been quite simply a bad father. It is historical circumstances that make him this ambivalent character. The arrest of the father during the Occupation, a recurring scene in Modiano, only makes sense in the historical context in which it took place. The father's arrest at Modiano's took place before the writer's birth. This is not a family scene: the father is there alone against a hostile world. The son keeps asking him how the father might have felt in this situation and in a way, the writing is a way of going back in time to reach him. This author's family novel cannot be thought of outside the historical context. But more than a biographical accident, the relationship to History becomes the issue of writing. This is particularly clear in Modiano, who obsessively looks back on the years of the Occupation, that is, the years of his father's youth. But the peculiarity of Patrick Modiano's family novel lies in its inscription in history. In the field of psychology, mythomania is a disease of psychiatry. This psychiatric term "mythomania" refers to a person with a compulsive tendency to tell lies and makeup stories. To lie, you need the imagination that builds the fable. In other words, the liar must thus use his imagination to construct his story so that it can be as likely as possible. Throughout this study, we have found that mythomania is at the center of all Modernist work (especially in The Night Watch and Dora Bruder). Modiano creates, in his works, an imaginary world inspired by his real life. So, we can say that Modiano's novel presents a virtual reality, placing the fictional characters in a real context, mingling them with individuals who have existed, but who seem even more virtual than those who are imaginary. The Modianesque text illustrates a presence, a hallucinatory memory, and a mode of identification in time through incidents and historical facts. The night watch is part of a double enterprise: on a personal level, the young writer continues the saga of "his other life", examines his "prehistory" to try to understand his father's behavior and determine what is happening. 'he would have done in his place. To do this, he resorts to mythomania which is somewhat similar to autofiction, where any real-fiction relationship follows a process of allegorization, onomastic research, to represent the historical sequences that float in ambiguity, in 'uncertainty. This exploratory process, haunted by personal and family history, targets the changing images, and according to reality. History does not generally take place in a very recent passage, but it does not take into account the timing of the story and the story, except for the historical events that are in the scene and the scene. It is a spring that rests close to historical reality. In fact, in the 1990s, Modiano was able to obtain, by his efforts, the investor also being interviewed by historian and lawyer Serge Klarsfeld, searching for details on the existence of the young Dora Bruder. Modified by the narrator assembling the pages of the story along with these of Dora's search by the basis of exact details on the cases and incidents, sort of as the reader considers it as a life story. Dora Bruder expresses wanderings in the past, nostalgia, and the need to solve personal puzzles, using the mythomania that puts the reader between the bifurcation of the real and the fiction. The author cultivates the memory and it is enlightenment necessary in the present. All things considered, space and time play, in turn, a considerable role to suggest well the mythomania, because the author respects in his works the authenticity of the Spatio-temporal factor so that the border between reality and fiction is erased and reveals the art of fictionalization which highlights the double, the memory, to unearth oblivion and the lost past. If in some of Modiano's works, such as The Night Watch, the narrator feels the need to invent characters such as Coco Lacour and Esmeralda, to introduce fiction into his life, it is because he translates the project of its author. In other words, to project oneself into the past and attempt to resort to the art of mythomania allowing it to merge fact and fiction to create a literary work reflecting historical themes and events.

French abstract: On admet bien qu’ une des nouvelles conceptions dans le domaine de l’ enseignement des langues, est le fait que l’ enseignement centré sur l’ enseignant a é té remplacé par l’ enseignement centré sur l’ apprenant. L’ apprenant est ainsi le centre du projet é ducatif. Le dé placement d’ une pé dagogie par objectifs à une pé dagogie active, centré e sur l’ apprenant, entraî ne une modification du rô le de l’ enseignant. L’ enseignant n’ est plus celui qui se contente de transmettre les savoirs aux apprenants. Dans les mé thodes actives, l’ enseignant doit faciliter l’ engagement des é lè ves. Il doit leur proposer de suivre une dé marche active d’ apprentissage à l’ é gard d’ une situation complexe. Mais, la pé dagogie par objectif n’ a-t-elle pas é té toujours privilé gié e par les enseignants du FLE? L’ objectif principal de cet article est de connaî tre le modè le d’ enseignement le plus fré quent entre les deux modè les explicite et par dé couverte chez les enseignants du FLE en Iran. Cette recherche consiste en une comparaison des deux modè les basé s sur les thé ories diffé rentes, l’ une centré e sur l’ enseignant et l’ autre centré e sur l’ apprenant. Tout d’ abord, nous allons comparer ces modè les, puis nous aurons recours à un questionnaire portant sur 35 enquê té s qui ont de 2 à 17 ans d’ expé rience dans le domaine de l’ enseignement du FLE en Iran. Les ré sultats de cette enquê te montrent que les enseignants du FLE, suivent pratiquement la dé marche explicite dans leur enseignement. Plus qu’ ils ne le pré tendent, ils prennent cette dé marche comme modè le d’ enseignement. English abstract: There is a great deal of research carried out on teaching methodologies throughout the history of foreign language teaching. Based on some experiences, different teaching methodologies correspond to different models of interactions in the French classroom. Obviously, behind every teaching model, there is a special methodology, but what encourages us to study in this research is the model of interactions in French courses, rather than the methodology itself. The focus on each of the two elements (teacher and learner) of the pedagogical triangle would lead to a different model of the treatment of the intermediate pole, that is to say the transmission of knowledge in French courses. The problematic of this research is to find out which of these two models (the learner-centered model or the teacher-centered model) is used most frequently in teaching French in Iran and what logic leads to this choice. The present research is therefore based mainly on this hypothesis that teachers tend towards the teacher-centered model because it allows them to control everything while transmitting knowledge to the learners. Consequently, there is not enough space left for the discovery of knowledge by learners in French lessons. The two notions, activator and facilitator are pioneered by John Hattie (2014), professor at the University of Melbourne in Australia, in his study called "visible teaching". According to Hattie (2009, 2014), “ all the characteristics of the “ activator” mode refer to the properties of explicit teaching, grouping together attitudes intended to make the teaching content clearly “ visible” or perceptible to students, to guide their learning, to obtain the active participation of the pupil and to inform him about what he has learned and what remains for him to learn. The "facilitator" mode, on the contrary, highlights the pedagogical attitudes leaving the pupils to extract the concepts to be learned from the rather complex pedagogical situations that are offered to them. This mode responds to the constructivist conceptions of teaching currently dominant in educational circles. "(Bianco 24) In this study, we have chosen two teaching models namely explicit teaching and discovery teaching (problem-based). These two teaching models represent respectively teacher-centered teaching and learner-centered (learner or learning-centered teaching). Both student-centered and teacher-centered teaching models have long been in use. Each of the two models has advantages and disadvantages. In explicit teaching, you assess what has actually been learned by students against what has actually been taught by teachers. The teacher's responsibility in the teaching / learning process makes him more active in this approach. That's where does the qualifier "the activator" come from. It is about making explicit any reasoning that is implicit in teaching; what to do, how, when, where and why to do it. The teacher develops a model of the procedures of the tasks to be performed in front of the students. According to Daniel Amedro (2009), the operation of explicit teaching consists of 3 stages: simulation, experience and learning/objectification. These three stages constitute the course of explicit teaching. Explicit teaching is an approach that is easily applied in a classroom setting. These three stages are distinct, but complementary. It opposes the pedagogies of discovery only, which are student-centered. In active pedagogies resulting from constructivism, the emphasis is on group work and the effectiveness of this fact is recognized by various research. According to the constructivist concept of learning, the learner assimilates information from the environment, then the cognitive structure of the individual is modified by the process of accommodation and therefore he adapts to it through mental activity. This is called the construction of knowledge or skills, in connection with prior knowledge. Learning is therefore simply a process of adjusting our mental models to adapt to new experiences. Discovery teaching is an inductive method through which the student, guided by a teacher, can identify and discover the concepts and key elements of a theme, understand and establish relationships between them, according to his own learning path. For Bruner, if the student is properly guided, he can learn by discovering the structure of the content. This approach encourages the learner to seek information on their own. The learner uses the prior knowledge and the resources at his disposal to arrive at his own conclusions, instead of following the teacher's model in solving the problem. According to Batchlod (2012) the discovery teaching consists of 5 stages: orientation, conceptualization, investigation, conclusions and reflection/argumentation. Teachers must organize and facilitate learning, so they have the role of facilitators, while creating educational resources that provide students with a basic structure. The steps introduced of the two teaching/ learning models were used as a basis to designate the questionnaire. In order to achieve our objective, we have approached two questionnaires for the development of which some of the theoretical elements developed in the article have been taken into account. In the first questionnaire, each question corresponds to a standard stage of a teaching session of each of the teaching models (explicit and by discovery), but what is notable is that the stages are not introduced in order and the questions of the two paths are not divided. It is with the intention of increasing the sincerity of the participants' responses in this project and to touch their subconscious as much as possible. The second questionnaire concerns the respondents' justifications for their choice of the teaching model. This survey was sent to 35 French teachers who work with children, adults or both at the same time. By comparing the results of questionnaires 1 and 2, we can conclude that, French teachers in Iran follow the teacher-centered model more than they think. In other words, the analysis of the results, made by the SPSS software, shows that the teachers try to approach the model of teaching by discovery in the choice of the pedagogical term, but practically they apply a more explicit way of what they chose as an approach in teaching. This perhaps comes from the unconscious of the respondents, the education system and the society in which they grew up. The cultural challenge seems to have its effects on the reflexive system of the French teachers in Iran.

French abstract: Pendant des siè cles la litté rature é tait le privilè ge exclusif d’ une é lite d’ hommes é rudits, donc c’ est l’ idé ologie masculine qui pè se fortement sur le langage et le discours dominant. A l’ aube du XXè me siè cle, des femmes é crivains ont essayé de retrouver, au moyen de l’ é criture, leur place de sujet dans la socié té . L’ Amant de M. Duras peut ê tre considé ré comme une remarquable fresque sur la socié té patriarcale de son temps. En faisant une é tude sociocriticienne selon la mé thode analytique de Pierre V. Zima qui s’ appuie sur les structures narratives, sé mantiques et linguistiques du texte, nous tenterons de repé rer les é lé ments constitutifs de la structure du roman afin d’ en dé celer l’ idé ologie fé minine, ainsi que le sens subjacent qui sont le fruit de la situation sociolinguistique. La crise du roman, la dé sinté gration de la syntaxe narrative et la position pré caire du sujet (du narrateur) dues à l’ ambivalence et le bousculement des valeurs, est le fruit des transformations bouleversant la socié té contemporaine à l’ oeuvre. English abstract: We have always set limits for women, yet they have always been writing. Since its founding in 1635, the French Academia has remained for a long time, open only to the male sex, it shows itself in fact, as the guardian temple of the language. An exclusion that puts the woman out of a vector of power, that is to say, the language, which she is the first to transmit to the child. But this exclusion demonstrates a reduction in the role of women in society which drove the many struggles waged by women to reach their true status. In the 20th century, more and more women entered the literary world. They raise their voices to distance themselves from pre-established definitions of women by trying to change the common values of patriarchal society. Language has thus become the site of numerous feminine demands which see it as a manifestation of equality between the two sexes. The relationship with language is therefore an alibi by which any rejection of unambiguous norms and laws can be demonstrated. But how does a female text react to social problems at the level of language? We do a socio-critical study to discover the internal social marks governing the literary universe of a woman writer. The sociocriticism of Pierre V. Zima as an approach identifying in the text, in particular in literary texts, the part of sociality is based on narrative, semantic and linguistic structures to analyze the content, the ideology as well as the meaning which are inseparable from expression and language. According to Zima, social values do not exist independently of language and the lexical, semantic, and syntactic units of a text articulate collective interest and can become issues of social, economic, and political struggles. In this perspective, the romantic form and society relate. In Zima's theory, the first importance is given to the notion of "collective languages", or "sociolects" which make it possible to form close relationships between the fictional form of a fictional work and society. Collective interests and problems appearing at the level of language, such as sociolects, inscribed in the texts, find their real dimension in the sociolinguistic situation, the study of which constitutes the first step of a sociocritical analysis. The sociolect can be described on three complementary levels: it has a lexical dimension, a semantic dimension, and a narrative dimension. Therefore, the lexical and semantic study, then the study of the narrative structure of a text constitutes respectively the second and the third stage of Zima's socio-critical perspective. Marguerite Duras, a figure in contemporary literature, mobilizes a denouncing discourse on the literary field. The female character of Duras sees herself and looks at the world and beings not according to the rules of female behavior received at the time, but as a free individual. By being characterized by a series of successive transgressions, she seeks to evolve the image of the wise and quiet woman. Therefore, the Durassian woman presents herself differently, going against the grain of ideas and behaviors taught by male ideology. In this way, the writing becomes a message that decrees the truth. The Lover, a partly autobiographical novel, can be considered a striking fresco on the patriarchal society of its time. This novel tells the story of a French teenager who lives in Indochina and her meeting with a young Chinese heir will determine the rest of her life. The heroine has obstacles to overcome: prohibitions imposed by society. Their relationship, banned by the boy's father and by colonial society, ends when the teenager has to return to France, leaving her lover still in love with her. The originality of our study lies in the fact that it reviews this novel through the prism of socio-criticism and of the method adopted by Zima to find the meaning behind each of the lexical, semantic, and narrative structures. This work, therefore, aims to seek the different structural elements that can help to decipher, through skillfully created narration and meaning, the trace of the social. To do this, we try to identify the meaning of certain elements of the novel, with the idea of seeing if the words are content to denote or if they are enriched with various connotations by proving how the semantic and narrative issues of a text can demonstrate social problems.