Revue Romane. Langue et littérature - Current Issue

This article shows the relevance of “engaged” or “committed” literature for “post-colonial” African writers in the two collections of short stories called Dernières nouvelles. Through the analysis of narrative utterance, we argue that their position reflects the African fight against colonialism and neo-colonialism. The writers execute a kind of continuum by claiming a literary tradition inherited from the founders of the Negritude movement. However, inspired by the modern context, the writers distance themselves from the radical and racial engagement of their predecessors. This difference can be observed in the use of various literary means, such as on the pretext, “silent cry” and the oxymoron. The article finally argues that there is a contradiction between the criticism of neo-colonial practices and the writers’ collaboration with French publishing houses and different cultural associations.

Le jeu libertin auquel s’adonnent les protagonistes des Liaisons dangereuses se fonde sur un pari, qui est un jeu de hasard. Toute l’action du roman tourne autour de la question de savoir si le vicomte de Valmont arrive à séduire la pieuse Mme de Tourvel ou non. Par leur pari à ce sujet, Valmont aussi bien que la marquise de Merteuil se trouvent dans une situation contradictoire. En tant que libertins, leur projet commun est d’éradiquer tout hasard. En pariant, ils se livrent, au contraire, au hasard, dont ils confirment par là l’importance, voire l’incontournabilité. Le présent article vise à analyser le caractère contradictoire du projet libertin dans ce roman épistolaire célèbre, qui n’est pas seulement, comme on l’a dit, un chant de cygne de l’aristocratie à l’aube de la Révolution française, mais qui implique également une critique de l’enthousiasme pour la raison et le calcul à l’âge des Lumières.

The article aims to analyze the phenomenon of transgression in Italian-language Romanian literature on the example of two novels entitled La frivolezza del cristallo liquido (2008) by Irina Turcanu and Dodici più un angelo (2012) by Ingrid Beatrice Coman. The starting point for the considerations is the hypothesis that writers who experienced migration, life under communism and negative emotions related to them may use the category of transgression in their narratives in a particularly intense way. In the cited works, the most important elements expressing transgression and its contexts are characterized. Transgression turns out to be a special narrative technique. It allows to criticize wicked human attitudes and emphasize the tragic situation of an individual who has become the object of transgressive acts.

L’existence d’un nouvel âge géologique (l’anthropocène) associée à l’impact de l’homme sur la terre attire de plus en plus de chercheurs, aussi des sciences humaines. La notion d’anthropocène amène entre autres à une réflexion morale au sujet des actions de l’homme. La parole poétique de Ponge et de Char est précisément associée à la déontologie. Notre examen écocritique et po-éthique s’oriente vers les liens entre poésie et action, vers la poésie comprise comme dénonciation et accusation, mais aussi comme guide et enseignement. « L’habitation poétique » de la Terre (Hölderlin et Heidegger) chez ces deux poètes renvoie à une « leçon » qui ne se définit ni comme utopie, ni comme nostalgie ou recueillement méditatif, mais comme responsabilité et sensibilisation à tout élément constitutif du monde et de la nature.

Complex adverbials built with the pattern ‘Preposition + Adjective (PA)’ such as Portuguese em especial ‘especially’ or Romanian de sigur ‘for sure’ display a remarkable frequency and pan-Romance consistency. Nevertheless, this pattern has been largely neglected by research. The ‘Third Way’ project intends to fill this gap, arguing that PAs are a relevant third way of constructing adverbials, aside with short adverbs and adverbs in -mente. It subjects prepositional adverbials to a historico-varietal analysis in a comparative pan-Romance approach to trace their trajectory from Latin up to now. This article presents an enquiry design for field research that allows examining the adverbials’ current usage and ongoing change in substandard varieties of all major Romance languages. The results are meant to help reconstruct the diachrony of PAs in Romance, especially in view of the spoken vernacular tradition.

L’articolo delinea un profilo della formazione di parola dell’italiano a partire dai primi anni Duemila, sulla base di un repertorio di neoformazioni attestate negli ultimi due decenni. L’analisi conferma alcune tendenze già identificate da studi precedenti, tra cui la preminenza della derivazione come strategia più frequentemente adoperata dai parlanti e la significativa produttività della composizione con un elemento formativo (più frequentemente a sinistra) e una parola autonoma. D’altra parte, i dati raccolti e analizzati suggeriscono alcuni aspetti innovativi verso cui orientare la ricerca futura, tra cui la formazione e la possibile grammaticalizzazione degli elementi formativi e l’impiego di elementi non italiani nella creazione di nuove parole strutturalmente ibride.

This paper aims to partially verify the hypothesis following which the grammaticalisation of the Ibero-Romance future and conditional tenses unfolded earlier in the (north-)eastern peninsular varieties before spreading to the central and western part of the Iberian territory through language and dialect contact. For this purpose, we will contrastively examine the distribution of futures and conditionals in Navarro-Aragonese and Castilian for the 13th and 14th century, more specifically the variation between the so-called synthetic verb forms with postverbal object pronouns and the analytic forms with mesoclitic pronouns, including the morpho-syntactic factors that favour the use of the former. It is shown that Navarro-Aragonese seems to exhibit a higher frequency of use of the synthetic forms with postverbal pronouns, especially with syncopated verbs, conditionals and a following non-finite verb form.