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

Chez le grand humaniste et l’immense poete persan du 7eme siecle, Jalalud-Din Balkhi dit Rumi, qui est non seulement l’un des fleurons de la litterature persane, dont il constitue l’une des figures les plus emblematiques, mais egalement l’un des plus illustres penseurs mystiques de la tradition soufie de tous les temps, tout est amour. Considere comme un saint et un modele pour tous, il nous adresse, dans son oeuvre, par dela l’espace et le temps, un message d’amour, particulierement representatif de l’universalite de sa pensee humaniste, et dont la ferveur nous touche profondement. Selon lui, vivre c’est aimer. L’amour, element le plus important de l’existence, au pouvoir incommensurable, est essentiel a la vie. Aussi faut-il y consacrer sa vie. Cet amour de l’autre peut revetir divers aspects, qu’il s’agisse de l’amour universel, amour du prochain, de toutes les creatures, ou de l’amour plus singulier, ou encore de l’amour de l’Autre, amour de Dieu. Pronant les qualites humaines, manifestations de cet amour, de cette ouverture du coeur a l’autre, tout en insistant sur l’infinie superiorite de l’amour divin, il nous exhorte a voir Dieu dans les autres etres de la creation, car tous sont des creatures de Dieu; c’est la raison pour laquelle, quand on aime quelqu’un c’est en realite Dieu que l’on aime. Rumi decrit ainsi en virtuose cette merveilleuse capacite, ce don de Dieu fait a l’homme, de pouvoir s’adonner a l’amour. English: Passion for Others and Divine Love from Rumi’s PerspectiveTo Molana Jalaleddin Rumi, the foremost poet of the seventh century, who is not only the blossom of the Persian literature but also a mysterious and a renowned gnostic of all time, passion is the essence of life. He, who is regarded as scared, conveys a strong message of passion to his readers by his definitive works and represents his worldwide- human thoughts as well. Reading his works produces significant effects on its readers. To his way of thinking, life means passion. Love, which is the most important reason of life, is the principal reason of life. One may sacrifice his/her life to love. Passion for others is many and varied; either for the whole universe including all humankind and creatures in general or for the others or the divine love in particular. Given the fact that divine love is the most superior type of love, and when high value is placed on the human characteristics, expression of this love .i.e., falling in love with others, contributes to a better demonstration of God in all creatures because they are all God's creatures. That is why it is said when one is attracted to someone; in fact s/he is in love with God. In his works, Rumi points out to a great natural capacity which is, in fact, the power of love and has been entrusted with human beings by God.Keywords: Molana Jalaleddin Rumi, Divine love, life, Persian literature

A cote de grands romanciers comme Balzac, Flaubert et Zola, Stendhal est sans doute, lui aussi, un des grands auteurs francais du XIXe siecle. La Chartreuse de Parme, ainsi que Le Rouge et Le oir, sont les romans les plus celebres de cet ecrivain. Croyant aux aspects mythiques deLa Chartreuse de Stendhal, nous envisageons, dans cet article, d’etudier cette caracteristique a travers les elements les plus importants de ce roman, a savoir: le temps, le lieu et le personnage. Pour ce faire, apres un regard bref sur le mythe et la mythologie, nous passerons a l’analyse des elements mentionnes et, en nous referant souvent aux mythes greco-romains et aussi, aux mythes de la litterature francaise, nous demontrerons les coins mythiques des lieux, du temps et du personnage central du roman. English: Mythical Elements in La Chartreuse de Parme by StendhalStendhal, along with Balzac, Flaubert, and Zola, is undoubtedly one of the greatest writers in the 19th C, France. La Chartreuse de Parme as well as the Le Rouge et Le Noir are among his best works. In this paper, we have tried to study the elements of story in the novel La Chartreuse de Parme through a mythical perspective, because there are strong traces of mythology in this novel. In this regard and in order to pin point the mythical elements in this novel, such elements as time, place, and story figures have been studied. Following a brief survey of myths and mythology, and based on ancient Greek and Roman myths as well as the extant myths in French literature, we have tried to demonstrate that places mentioned in the story, as well as the historical time fame, are mythical. And the novel’s hero has also mythical characteristics.Keywords: Stendhal, La Chartreuse de Parme, myth, time, place, personage

DansLe Rouge et le noir de Stendhal, les manifestations passionnelles sont nombreuses. L’amour, la haine et la colere sont quelques uns des principaux sentiments exploites par l’auteur. La colere occupe une place importante et elle a une grande influence sur Julien Sorel, le protagoniste du roman. Cependant, l’explosion de la colere depend de quelques facteurs dont le milieu social du heros. La representative Sorel est une unite familiale dans cet organisme social. Dans son enfance, Julien est maltraite par sa famille, ce qui entraine une haine profonde chez lui et le transforme en un individu hypocrite. D’autre part, la ville est un espace malefique où l’interaction entre le milieu et le personnage est incontestable. Ambitieux et arriviste, Julien envisage de monter les grades sociaux par la carriere militaire. Il a la possibilite de jouir de l’instruction de son premier guide qui lui revele les injustices sociales. La chute de Napoleon ramene les religieux au pouvoir et Julien choisit la carriere ecclesiastique par l’hypocrisie et non par la croyance sincere. Son choix est fatal, car il repousse les valeurs positives. Plus tard, il etablit une relation inadmissible, du point de vue social et religieux, avec les deux personnages feminins. Grace au soutien de l’une de ces femmes, il voit enfin tous ses projets realises. Denonce par l’autre femme, en tant qu’homme hypocrite et malhonnete, toutes ses illusions s’effondrent. Frustre et mecontent, Julien s’abandonne a la violence qui se manifeste comme une irruption soudaine. Cette agressivite se transforme en une colere premeditee qui s’acheve en catastrophe et desolation. English: Julien Sorel's Anger in Le Rouge et le NoirThe manifestations of passions are many in Le Rouge et le Noir by the French novelist, Stendhal. Love, hate, and anger are some feelings evident throughout the novel. However, anger is an important passion which has a strong influence on the protagonist, Julien Sorel, as well as other characters. The burst of anger is due to some factors. The social milieu in which the protagonist has been raised is peasant like. This society is presented as an organism one of whose cells is Julien’s family, a social unit. Aggression is always upon Julien by his family; therefore, he hates them. The city is the scene of rivalry and the people are mischievous. Being ambitious and hypocrite, he tries to reach the high social class by entering the army. But after the fall of Napoleon, the religious order takes power and he changes his decision in order to enter the Church. Having had two guides during his youth, the protagonist has the opportunity to reach devotion and consciousness. But he has insincere behavior. Having reached all his wishes, he is denounced as a traitor and loses all his positions. His expectations are not fulfilled. The protagonist who has been under the influence of the wicked milieu and his immoral intentions and great ambition bursts to anger. At the end, we see that everything comes under the spell of the resulted anger. Being arrested, the protagonist is guillotined.Keywords: social unit, devilish milieu, frustration, violence, anger

La description structuraliste ouvre un circuit d’intelligibilite que referme l’explication genetique et comme nous le savons, c’est Lucien Goldmann qui a nomme ”structuralisme genetique”son enquete sociologique. Ayant essaye d’exposer les principes essentiels de sa methode appliquee aux sciences humaines en general et a la critique litteraire en particulier, Goldmann a trouve des analogies et des oppositions entre les grandes ecoles complementaires de critiques litteraires qui se rattachent a cette methode. Pour lui, le structuralisme genetique part de l’hypothese que tout comportement humain est une maniere de reponse significative a une situation particuliere. En fait pour lui tout equilibre satisfaisant entre les structures mentales du sujet et le monde exterieur aboutit a une situation a l’interieur de laquelle le comportement des hommes transforme le monde. Mais cette enquete sociologique, est-elle l’instrument le plus sur de la phenomenologie litteraire. Goldmann, n’a-t-il pas neglige le texte litteraire? L’individu n’etant qu’un element du groupe auquel il appartient, l’individualite de chacun ne va-t-elle pas disparaitre totalement dans les aspirations de la classe sociale? Quelle difference separe Racine, auteur tragique de Moliere, auteur comique? N’ont-ils pas vecu tous les deux sous le regne de Louis XIV, au dix-septieme siecle francais? Et donc”le social”saurait se passer de ”l’individuel”. English: The Metacritic of Genetic StructuralismLucien Goldmann called his research the “genetic structuralism”. By using the principles of this method, in human sciences generally, and in critic literature particularly, Goldmann has discovered the similarities and differences between the big complementary schools of critic literature that attached themselves to his method. For him, the genetic structuralism, by hypothesis, is that human behavior is a try to give an answer significant to a particular situation. In fact, for him, the harmony between the mental structure and the external world leads to a situation by which the human behavior can change the world. But can this social research be the most certain instrument for literal phenomenology? Has Goldmann not forgotten the literary text? When someone is nothing but an element of a social class, doesn’t his individual personality disappear totally in the aspirations of his society? What differences distinguish between the tragedy writer Racine and the comic writer Moliere? Didn’t they live both during the reign of Louis XIV in the seventeenth century? Is the social identity really beyond the individual identity?Keywords: genetic structuralism, metacritic, structuralism, literature, phenomenology, social, individual

Quel but recherchait Anouilh en empruntant a l’Antiquite quelques-uns de ses plus grands mythes? L’auteur d’Antigone s’est-il servi des mythes comme d’un masque ou d’un deguisement pour pouvoir exprimer ses idees politiques sous l’occupation en echappant a la censure?Comment les manuels ont essaye de presenter la relecture moderne du mythe Antigone?On sait que dans une certaine mesure cette piece, sous le couvert des pieces mythiques, a ete une piece d’actualite et meme de combat.En conclusion, il est important de noter que le tragique moderne est dans la resistance individuelle a l’autorite, et dans le refus d’un bonheur fait d’acceptation et de compromissions; le tragique antique etait l’affrontement de deux idees de la justice et une reflexion sur le destin humain soumis a la volonte divine. English: Modern Relecture of Antigone in French TextbooksFrench great writers have tried to revive myths. The famous authors of 20th century use the Greek myths. Cocteau in his Orphe, Sartre in Les Mouches, and Giraudoux in Amphitryon and Electre are just some examples. Anouilh is one example of such great writers. What was the goal of Anouilh by writing Antigone and using Greek myths? Did he use the myths for hiding his political beliefs in the time of occupation? How has this been reflected in French textbooks? Which part/s has been emphasized? What are the goals of textbooks by presenting some parts of such plays? We know that this play on the surface is a mythological play but actually tries to depict resistance and war. In this paper, an attempt is made to show that while in the past tragedy was used to depict the struggle between man and his destiny today modern tragedy depicts a kind of individual struggle between man and an authority by accepting death. This is a point which seems to have been ignored in French textbooks.Keywords: French textbooks, theatre, Antigone, myth

On trouve aujourd’hui enormement d’oeuvres d’une part sur la religion, et d’autre part sur le langage, sur leurs evolutions et leurs significations a des epoques differentes. En revanche, on dispose de peu d’ouvrages sur le langage religieux. Cet article traite du probleme du langage religieux a travers l’oeuvre d’un auteur contemporain qui essaie de sortir du chemin habituel de la communication. Il s’agit de Maurice Bellet dont l'oeuvre feconde comporte un vaste eventail de discours pour dire le manque d’une parole divine pouvant mettre fin aux malheurs, pour ne pas dire catastrophes, de l’humanite dans le monde entier. Il y a bon nombre d’articles en ce qui concerne les differents ouvrages de cet auteur, mais pas de livre critique. Nous avons consacre dans cet article trois parties a l’elucidation des discours diversifies de cet auteur pour faire passer le message du langage religieux dans un langage accessible a tous. English: A Modern Style for Religious Language: Maurice Bellet's WritingThere are many works today about religion on the one hand, and language on the other hand, about their meaning and evolution in different ages. However, there are few works on the religious language. This paper discusses the problem of religious language, based on the works of an author who tries to go out of ordinary way of communication. It is about Maurice Bellet whose rich works consist of diverse discourses announcing the lack of a divine Word, a Word able to bring to an end the catastrophes if not the misery of human being all over the world. There is no critical book on this author, yet there are many papers on his different books. This paper consists of three parts dealing with elucidation of author’s diverse discourses that aim at transferring the message of the religious language by a language within the reach of every one.Keywords: religion, word, society, reason, psychoanalysis, love, discourse

Passage de Milanest l’oeuvre de Michel Butor, romancier, philosophe et critique du XXe siecle. Une transition entre le style realiste et l’art plus audacieux du Nouveau Roman, Passage de Milan peut etre lu aisement par un lecteur habitue aux romans realistes. Mais peu a peu, les divergences se devoilent et illustrent bien un nouveau roman avec ses propres caracteristiques, dont la plus importante est la maniere de presenter la realite. Le but que nous visons dans cet article est de verifier dans quelle mesure cette oeuvre releve de la tradition realiste et dans quelle mesure elle s’en ecarte. Comme nous le verrons, ce roman, contrairement aux oeuvres realistes, ne designe pas une realite digeree et commentee par l’auteur; il est plein de symboles et de fragments que le lecteur lui-meme doit relier entre eux, pour decouvrir et comprendre la complexite de la realite. L’auteur lui propose seulement des gestes, des paroles et des pensees. English: Passage de Milan is a novel written by Michel Butor, a 20th-century novelist, philosopher and critic. Passage de Milan is a transition between realistic style and New Roman, an audacious art which can be read and understood by a reader typically used to realistic novels; however, differences and distinctions gradually reveal themselves and a new novel with its own distinctive characteristics emerges, the most important being the way reality is presented. This article intends to make a comparison and contrast between this novel and traditional realistic novels. In this research, it has been shown that unlike realistic works, this novel does not refer to a reality digested and interpreted by the novelist himself; the novel is also depleted with symbols and fragments. It is the reader who relates these pieces and fragments together so that he can perceive and understand the complexity of the reality. The author just suggests a number of gestures, words and ideas.Keywords: description, personage, new Novel, symbol, reality

L’oeuvre d’avant-guerre de Jean Giono, le celebre ecrivain francais, est placee sous le signe de la violence et de la cruaute. Penches sur les valences religieuses de la violence, nous tenterons de demontrer dans cette etude l’interdependance, l’interaction et la confusion catastrophique des forces sacrees et profanes. L’issue de la crise ainsi que la survie de la communaute primitive moyennant le sacrifice, feront egalement l’objet d’une analyse qui permettra de clore ce travail. English: Jean GIONO or Divine NatureJean Giono’s works before the Second World War (especially his first three novels) are full of violence and cruelty. There are, however, differences among novels in terms of quantity and quality of violence in his novels. The mythical beliefs of the writer bring things into his stories similar to human elements. The human being and natural elements come into competition with each other and even sometimes take revenge. The present paper aims at investigating violence and its religious features. We firstly demonstrate the interdependence, interaction and catastrophic confusion between "sacred" and "non-sacred" forces. Then we consider the moderate approach of the primitive community to tackle the problem and to survive through sacrifice.Keywords: sacred, non-sacred, violence, sacrifice, community