REVUE DES ETUDES DE LA LANGUE FRANCAISE
Year:2010 | Volume:1 | Issue:2|Papers Count:8

Dans cet article, nous allons d’abord essayer de dresser a grands traits l’historique du terme “connotation”, l’emploi qui en a ete fait par les logiciens et les linguistes avant Hjelmslev. Ensuite nous allons etudier ce terme dans le domaine de la semiotique, chez Hjemslev, Barthes et Greimas, enfin nous situerons la connotation dans le domaine de la semantique et, pour une semantique de la connotation, nous nous sommes referes a la semantique des Points de Vue theorisee par Pierre-Yves Raccah, issue de la theorie de l’”Argumentation dans la Langue”, selon laquelle les mots employes dans les enonces contraignent des points de vue. Nous ferons finalement une synthese des definitions donnees et voir en effet que les notions de point de vue et de connotation sont liees etroitement. English: Connotation and Point of view: Two Notions Strictly ConnectedIn this article, first an overview of the term "connotation" is presented as it was used by logicians and linguists before Hjelmslev. Then, this term is examined in the field of semiotics in the works of Hjemslev, Barthes and Greimas, and we go to see that in semiotics, a connotative system can be one of the creative systems of the sense, but it must be completed by other mechanisms. Finally, we shall place the connotation in the field of semantics by referring to Pierre-Yves Raccah's point of view, stemming from the theory of the "Argumentation in the Language", according to which words used in statements force points of view. We are going to give our definition of this term and we indeed go to see that the notions of point of view and connotation are strictly connected.Key words: connotation, semantics, semiotics, point of view, argumentation in the language, topos, topoi

La curiosite esthetique de Baudelaire le mene des son enfance, vers l'univers de l'imagination poetique. Dans son oeuvre on voit donc, le regne indispensable de l'image. Les images sont creees chez l'auteur, par le gout des artifices de l'art et aussi de la quete d'un ailleurs. L'art devient ainsi un moyen pour sortir de la nature qui n'est qu'un mal selon Baudelaire. Le poete se montre alors contre cette nature banale, symbole de la verite. Cette conception se traduit chez Baudelaire, par son imagination surnaturaliste. English: From Worshiping the Images to Hatred from Nature in Baudelaire's OpinionCuriosity arising from Baudelaire's aesthetics leads him towards a world of imaginations. Across the works of this poet, the absolute ruling role of images can be observed. These images have been sometimes arisen from his poetic taste with the use of artistic devices and occasionally from his search for reaching the mystic utopia. Thus, poem is a tool for the poet to depart from nature, which, in his opinion, is a symbol of the external reality and is nothing but wickedness. Consequently, the poet stands against this hackneyed nature. Such understanding of the nature, together with the creation of the images, with the help of the supernatural imaginative power can be seen in Baudelaire's works.Key words: poetry, nature, image, art, utopia

Toute communication verbale s'effectue dans un espace interactif ou circulent les actes de parole, composes eux-memes des mots relativement dependant les uns des autres. Ils se basent sur des structures syntaxiques en rapport direct avec d'autres composantes, entre autres, la charge culturelle du lexique utilise ainsi que les elements para verbaux et non verbaux du langage. Pour se comprendre dans un espace interactif, le locuteur et l'interlocuteur sont menes a partager les savoir-faire et savoir-dire de la langue cible, sinon la communication sera, indubitablement, ratee ou bien les malentendus emergeront entre les partenaires de l'echange verbal, faute d'un repertoire culturel commun. Notre etude vise donc a dessiner un espace interactif et analyser les elements les plus importants qu’y prennent part. English: Interaction Space in Verbal CommunicationVerbal communication requires at least one locator (speaker) and one interlocutor (listener) who converse about a particular subject. This conversation usually takes place within a specific time and place and has to abide by the rules and principles of the language and the norms and connections of the cultural context. Therefore, in order to perform a successful verbal communication, it is not enough to have only linguistic competence; in addition, the interlocutors should also possess communicative competence. The present article deals with the interactive context of verbal communication and the appropriate strategies the speaker and listener utilize, in order to successfully interact with the other interlocutor.Keywords: verbal communication, interaction, act of speaking, context of communication, speaker, listener

Le vingtieme siecle est une periode ou l’homme cherche a demystifier la verite, a se creer la realite. Cette vocation inspire surtout les ecrivains, poetes, romanciers, dramaturges, critiques, etc.Au fur et a mesure que l’auteur sent le besoin de renforcer la relation entre son art et la tendance de trouver la realite, il choisit consciemment de parler de la realite qu’il constate. Ainsi son œuvre met-elle un vaste horizon de vie-sociale et individuelle-devant les yeux du lecteur, il nous permet de voir toute la vie et non pas un aspect particulier.Ce choix tendancieux, pour parler des histoires reelles, se fait aussi en Iran par une serie d’ecrivains comme J. Ale Ahmad, B. Alavi, S. Choubak, GH. H. Saedi, auxquels il faut ajouter le nom de Simine Danechvar qui profite de ce genre de regard au gre de la femme, de ses joies, de ses miseres et en gros de sa situation sociale dans le pays. C’est l’etude de l’identite de la femme iranienne a travers Souvachoun de notre grande romanciere contemporaine, Simine Danechvar, qui constitue l’objet de notre etude. English: The Female Identity in the Dichotomy of Fictional Characters Selective Study: SouvashounThe twentieth century is a period when man seeks to demystify the truth, to create reality. This mission inspires most writers, poets, novelists, playwrights, critics, etc. Gradually, as the author feels the need to strengthen the relationship between his art and his tendency to find reality, he consciously chooses to speak of the reality he observes. Thus, his work puts a vast panorama of life_social and individual_in front of the eyes of the reader; so it allows us to see a whole lifetime and not a particular aspect. This tendentious choice, to speak of true stories, is also done in Iran by a series of writers such as J. Ale Ahmad, B. Alavi, S. Choubak, GH. H. Saedi, to which must be added the name of Simin Daneshvar who benefits from this kind of scrutiny at the discretion of the woman, her joys, her miseries and wholesale social situation in the country. The study of the identity of Iranian women throughSouvashoun of our great contemporary novelist, Simin Daneshvar, is the object of our study.key word: Twentieth century, Roman, Reality, Iran, S. Daneshvar, Women, Social conditions

Proust structure sa psychologie sur l’opposition entre un "moi superficiel" et un "moi profond". Le premier se divise en deux "moi", l’un "mondain" et l’autre "prive". Le "moi mondain" est le "moi" qui se manifeste dans la societe, qui est l’image que nous donnons de nous-memes aux autres. Le Narrateur dechiffre ce "moi" par l’etude des "signes" emis par les etres qui l’entourent. Le "moi prive" est celui du Narrateur etudie par lui-meme au long de la Recherche. Le deuxieme "moi" est un "moi" impenetrable qui se saisit par la memoire involontaire. Ce phenomene donne une vision panoramique du moi profond du Narrateur, mais de façon accidentelle et partielle. Apres cette etude minutieuse des deux "moi", la metaphore proustienne en tant que contact direct du "moi profond" avec le monde sera etudiee. English: Social Self and Inner SelfProust's psychology is based on the distinction between “superficial ego” and “profound ego”. His “superficial ego” in turn, consists of two “egos”: “social ego” and “private ego”. In Proust’s work of fiction, “social ego” has his manifestations in the society and is the one we present to others. The Narrator of In Search discovers this “ego” by investigating the “signs” which the people around show him. The “private ego” of the Narrator is analyzed only by himself all along the fiction. The second “ego” is impermeable and can be reached only by “involuntary memory”. This phenomenon provides a panoramic, but unplanned and partial vision of Narrator’s “profound ego”. A thorough investigation of “ego” in In Research leads to the study of metaphors which can be considered as a direct contact between “profound ego” and the “world”.Key words: Proust, superficial ego, social ego, private ego, profound ego, narrator, metaphor

Toute litterature est impregnee des notions fondamentales de la vie et de la mort. La litterature persane n’en est pas exempte. Ces concepts sont largement etudies par les grands poetes iraniens contemporains, a savoir Sepehri, Akhavan, Farrokhzad, Youshidj et Shamlou. Leurs attitudes vis-a-vis de ces notions, fondees sur leurs propres visions du monde, paraissent de maniere radicalement opposee. En ce sens que les uns y jettent un regard pessimiste, tandis que les autres y portent un regard optimiste. Dans une approche comparative, nous envisageons d’aborder, dans cette etude, les conceptions de la “vie” et de la “mort” a travers des exemples tires des oeuvres principales de ces poetes. English: Death and Life in the Contemporary Iranian PoetryAll of the literatures have studied the basic question of death and life and the Persian literature, too. These concepts have been studied broadly by great contemporary Iranian poets such as Sepehri, Akhavan, Farrokhzad, Youshidj, and Shamlou. The perspective of these poets to these questions, based on their own philosophy, seems radically different; some have a positive point of view while others have a negative one. Studying the concept of death and life, in a comparative process, by using examples from their own main works, is the base of our study.Key words: death, life, Sepehri, Akhavan, Farrokhzad, Youshidj, Shamlou

Dans son “Introduction” aux Nouvelles asiatiques (1876), Arthur de Gobineau reconnait que James Morier, auteur des Aventures de Hadji-Baba d’Ispahan (1824), y a adopte une position partiale envers le peuple qu’il a voulu presenter. Aussi recourt-t-il a la nouvelle pour varier les points de vue, d’ou ses Nouvelles asiatiques, dont nous n’abordons ici qu’une seule, l’”Histoire de Gamber-Aly”, dans laquelle il presente et discute subtilement les traits de mœurs et les institutions persanes, surtout le droit d’asile. Pour l’auteur, le voyage, surtout lorsqu’il s’agit d’accomplir un pelerinage, revet d’une importance capitale pour la trame de sa nouvelle. Cependant deux questions se posent ici: d’abord, quels sont les faits qui ont contribue a la genese de sa nouvelle exotique; ensuite quelles sont ses sources qui semblent etre en grande partie veridiques? C’est ce que nous avons l’intention de mettre en lumiere et de presenter aussi sa creation romanesque. English: Arthur de Gobineau: Genesis and Resources of History of Ghanbar AliArthur de Gobineau in the introduction to his book, Asian Novels (1876) states that James Morier, the writer who has compiled The Adventures of Hajji Baba of Isphahan (1824) has effectively used his personal grudge against Iranians. In order to eliminate these doubts and misconceptions, Arthur de Gobineau took to writing the above collection. He has paid special attention to the history of "Ghanbar Ali", pointing out the characteristics, customs and traditions of Iranians. Additionally, he has described strike, pilgrimages and travels. He has simultaneously considered the two significant roles of comparative literature in relation to the above factors: the various origins of the story and their progress through the ages as well as the resources which form an integral part to the factual truths of the story.Keywords: Arthur de Gobineau, history of Ghanbar Ali, genesis, resource, journey, women, strike

L’evolution de la didactique des langues a permis de passer au niveau de leur enseignement d’une pratique analytique a une pratique langagiere. Mais l’etude d’une langue etrangere en milieu formel conduit malgre tout a parler de la langue. La necessite du metalangage s’impose des les premiers essais de production de l’apprenant. Il s’agit de savoir quelle forme donner au metalangage et quelle precaution prendre pour eviter des erreurs.Pour repondre a ces deux questions, nous allons donc nous occuper a l’importance accordee a l’enseignement de la grammaire dans l’apprentissage d’une langue etrangere dans les methods traditionnelle, directe, audio-orale, audio-visuelle, etc. Le metalangage est defini selon differents chercheurs. Notre but est de montrer les attitudes des apprenants devant la grammaire ainsi que la place accordee au metalangage et a l’explicitation des regles. English: The Role of Grammar in Learning a Foreign LanguageTraining of the foreign language has experienced changes and variations during the successive years, and the language is no more instructed theoretically or analytically. Thus, the skill in increasing the applicability of a language has gained much importance than before. Hence, during learning of foreign languages in an educational environment, a dialogue for the analysis of the language becomes inevitable, which leads the teachers and trainers to use a language that is called “meta-language” so to speak. The kind of the language used is very important because it may cause a mistake and mislead the language learner. The role of grammar in learning none-mother tongue through different methods (traditional, audio-visual, etc.) is emphasized in this essay. Various grammars used in these methods are studied during the learning process as well, and defining the meta-language and its varying versions are introduced according to the view points of different theorists.Key words: language learning, educational environment, language analysis, spoken and unspoken meta-language, explicit and implicit language grammar