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- Volume 48, Issue, 2013
Revue Romane. Langue et littérature - Volume 48, Issue 1, 2013
Volume 48, Issue 1, 2013
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Camino, Base y Manera en español y sueco: Un estudio contrastivo
Author(s): Alejandra Donosopp.: 1–31 (31)More LessThis study surveys how Spanish and Swedish speakers convey information about Motion. The point of departure is the typological description about satellite-framed languages (SFL) and verb-framed languages (VFL) which claims that these language groups differ in how they codify Path and Manner. The data consist of 16 oral narratives in Swedish (SFL) and 16 in Spanish (VFL). Based on the assumption that the lexicalization patterns for motion encoding module how speakers of different languages convey information in discourse (Talmy, 2000; Slobin, 1996a), we hypothesize that the Swedes will offer a wider range of descriptions concerning Manner and Path than the Spanish speakers, whereas the latter group will exhibit high-grained descriptions about the Ground or settings where the action takes place. The first hypothesis is confirmed, the second is partially rejected: both groups offer detailed Ground descriptions, though the Swedes express to a greater extent the final destination of motion events. Even more, our findings suggest that the encoding of end states of motion is highly tied to the use of various satellites, which can be combined both with verbs that express a direction and with verbs which do not involve such information. The characteristic syntactic patterns found in satellite-framed languages for information encoding plus the existence of schematic constructions in Swedish might be an explanation for these results.
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Tu lui les as donnés ?: Variation dans l’ordre des pronoms multiples en phrases déclaratives
Author(s): Anne Violin-Wigentpp.: 32–50 (19)More LessTuaillon (1983) claims that variation in the order of third-person multiple object pronouns is a “clear regionalism” from the lower Rhone valley. To investigate this phenomenon in Briançon, a small town in southeastern France, 41 participants from this area filled out an acceptability judgment questionnaire, evaluating sentences with such pronouns in different orders. The results of statistical tests show that, even though participants prefer the standard French order, they also accept the reversed order (standard ‘le lui’ vs. reversed ‘lui le’). The analysis also suggests a change in apparent time (which seems to coincide with economic and social changes in the region since WWII) as well as age grading.
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Anaphore associative et anaphore possessive: Quelles différences pour les relations de cohérence ?
Author(s): Mathilde Sallespp.: 51–78 (28)More LessThis paper is devoted to associative anaphora and possessive anaphora with two kinds of nouns. One is meronyms, where a noun denotes a concept that is a part of another as in trunk/tree. The other is what I call “functionally localized” nouns, such as church with respect to village, where the latter denotes a concept that normally implies the existence of the concept denoted by the former : see Kleiber (2001). We first evoke the referential properties of these two kinds of anaphora. The properties of the possessive determiner are then discussed in order to explain its occasional incompatibility with meronyms or functionally localized nouns. Finally, we elucidate the consequences for the choice between associative and possessive anaphora upon textual coherence relations, in particular Claim-Evidence (Cornish, 2009a, b) and Explanation.
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El humo dormido, de Gabriel Miró: Narratividad vs. Superficie lírica
Author(s): Guillermo Laín Coronapp.: 79–99 (21)More LessFrom the beginning of his literary career, Gabriel Miró (Alicante, 1879 — Madrid, 1930) has been considered a poet in prose, a lyricist or even a stylist. Of course, one cannot ignore that Miró’s work is highly poetic, as for the beauty of his language and landscapes or for some themes easily associated with Romantic lyrical commonplaces. But this is just a superficial screen behind which other narrative qualities are hidden. Indeed, Miró seems to use lyricism to deliberately conceal the narration, somewhat as a form of subliming it. This can be best seen when analysing El humo dormido (1919), for it is one of his books that has most often been praised as lyrical, but, although not exactly a novel, it hides a strong narrative structure of apprenticeship with an allegorical political meaning.
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Estudio y edición de El infierno de Jacinto Alonso Maluenda
Author(s): Joan Mahiques Climentpp.: 100–118 (19)More LessThe comparison of satirical and burlesque representations of hell allows us to point out some analogies between different works and authors documented in Valencia from 1627 to 1656. Some works of Quevedo printed in this city, as the Sueños and the ballad Los que quisieren saber, seem to have inspired El infierno of Jacinto Alonso Maluenda and the Somni de l’infern of Pere Jacint Morlà. This last author has also written the Pintura de la Torre de Serranos, which identifies allegorically Valencia’s prison as the place of eternal damnation. We examine the literary context of all these testimonies and their relationship with Maluenda’s El infierno, the edition of which is added at the end of this paper.
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Poétique de la rupture spectrale: Hantise et ressassement
Author(s): R.-L. Etienne Barnettpp.: 119–130 (12)More LessRETRACTION NOTICE. This article has been retracted. For more information, please read the Editorial in Revue Romane 50:1 (2015).
Sociologists and historians of genealogical filiations invoke modernity as the dissolution of traditional communities that formerly, albeit oft tacitly, bound descendants to ancestors. So as to invent oneself spontaneously and without restraint, the modern figure breaks with the strictures of the past, forging a path toward liberation. This newly-minted “emancipation” gives way to a sense of discomfortable culpability among contemporary “scribes.” In quest of remedy, they fashion a space, at once disturbing yet inviting to the ghosts and spectres of primogenitors, a space that both supports and distorts the words of heir(s). In such an optic, Sylvie Germain (1954) and Jean Rouaud (1952), Gérard Macé (1946), Pierre Michon (1945) and Pierre Bergounioux (1949) are powerfully haunted writers. As beneficiaries/successors, their gestures recall past lives and their words replicate their parents’ inflections and manner of verbal discourse. They are, as such, dispossessed of a familial past that represents little but ruin and grief, yet possessed by those absent beings who intrude obsessively on their consciousness and speech. They are heirs torn apart by a melancholy that extends to the grave of their “predecessors.” Contemporary literature vies with this spectral theme to analyze the ambivalence occasioned by such haunting refrains: artistic victims, orphans and parricidal vestiges of a family past, significantly impacted by the unconscious and linguistic upheavals that accompany such compelling loss.
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À propos de l’écriture catholicisante dans l’œuvre de Strindberg: Quelques réflexions sur l’emprunt culturel
Author(s): Mickaëlle Cedergrenpp.: 131–146 (16)More LessAfter his years of exile in France, Strindberg displayed a renewed interest in theatre and demonstrated a genuine sympathy towards the Catholic religion which he had come to know through fin de siècle French literature. In adopting an Catholicising writing, Strindberg assimilated these cultural borrowings, resemanticizing them in accordance with his personal past and social context. This paper takes as its starting point a hermeneutic reflection upon the value of cultural transfers, drawing on concepts provided by imagology and the notion of cultural transfers developed by Bourdieu and Espagne. Through his practice of rewriting, Strindberg displays his adherence to several national cultural spaces. In this paper, I will shed light on Strindberg’s writing’s hybrid nature and its innovative strength.
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Les Souffrances du jeune Werther de Goethe comme réponse à La Nouvelle Héloïse de Rousseau: Analyse du concept d’« expérience esthétique » suivie d’un essai d’application de Hans Robert Jauss
Author(s): Sarah Alharbipp.: 147–161 (15)More LessThis article pursues the analysis of Hans Robert Jauss’s conception of “Aesthetic Experience”, as developed in Ästhetische Erfahrung und literarische Hermeneutik. The critical implication of hermeneutics in literary analysis is still considered problematic. In his book, Jauss goes beyond disciplinary limits and asserts that a hermeneutical methodology is in fact relevant in postmodern literary theory. He then provides the principles of this approach : historical consciousness and dialectical hermeneutics are here considered to be the main events involved in the act of interpretation, for they broaden one’s understanding of the text. This study, divided into two parts — theoretical and literary —, examines first the conceptual nature of “Aesthetic Experience”. It then presents an example of one of Jauss’s most important hermeneutical essays : a comparative reading of The Sorrows of Young Werther and The New Héloïse. We wish to prove the relevance of literary hermeneutics and the significance of its application, a process that understands the author “better than he understood himself”.
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Manière de faire et manière d’être: À la mode de (SN) vs à la mode
Author(s): Estelle Molinepp.: 163–182 (20)More LessThis article aims to describe the differences between à la mode de (SN) ‘in the fashion of’ and à la mode ‘fashionable’. These two constructions are characterised by the fact that in the first one, the noun mode must be modified by a prepositional phrase, an adjective or a relative clause, whereas in the second one, modification is impossible. In contemporary French, these constructions appear in different syntactic contexts : à la mode de (SN) works both as an adjectival or a verbal modifier, whereas à la mode behaves as an adjectival modifier only. Though à la mode first appears as an ellipsis of à la mode de (SN), the noun mode has different meanings in these two constructions : it must be understood with its ancient meaning of ‘manner’ in the first case, but with a more recent meaning of ‘fashion’ in the second one.
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New thoughts on an old puzzle
Author(s): Martin Maiden
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