{"id":1315,"date":"1994-03-12T11:33:07","date_gmt":"1994-03-12T10:33:07","guid":{"rendered":"http:\/\/www.lilec.it\/francofonia\/?p=1315"},"modified":"2017-03-29T12:45:01","modified_gmt":"2017-03-29T10:45:01","slug":"26-1994","status":"publish","type":"post","link":"http:\/\/www.lilec.it\/francofonia\/26-1994\/","title":{"rendered":"26 Printemps \/ Primavera 1994"},"content":{"rendered":"<p><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last\" style=\"--awb-bg-size:cover;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-text fusion-text-1\"><h2 style=\"text-align: center;\" data-lineheight=\"47\" data-fontsize=\"34\"><strong><div class=\"fusion-counters-circle counters-circle\" data-animationOffset=\"top-into-view\"><div class=\"counter-circle-wrapper\" style=\"--awb-font-size:34.090909090909px;--awb-size:150px;\" data-originalsize=\"150\"><div class=\"fusion-counter-circle counter-circle counter-circle-content\" data-percent=\"100\" data-countdown=\"\" data-filledcolor=\"rgba(0,165,55,1)\" data-unfilledcolor=\"rgba(246,246,246,1)\" data-scale=\"\" data-size=\"150\" data-speed=\"1500\" data-strokesize=\"7.5\"><div class=\"fusion-counter-circle-content-inner\">26<\/div><\/div><\/div><\/div><\/strong><strong>Printemps \/\u00a0<\/strong><strong>Primavera 1994<\/strong><\/h2>\n<p style=\"text-align: left;\"><a href=\"http:\/\/www.jstor.org\/stable\/i40116673\" target=\"_blank\"><img decoding=\"async\" class=\"alignleft wp-image-321\" src=\"http:\/\/www.lilec.it\/francofonia\/wp\/wp-content\/uploads\/2017\/03\/JSTOR_Logo_RGB_60x76-1.gif\" alt=\"\" width=\"46\" height=\"59\" \/><\/a><\/p>\n<p style=\"text-align: left;\"><a href=\"http:\/\/www.jstor.org\/stable\/i40116673\" target=\"_blank\">Lire ce num\u00e9ro sur JSTOR<\/a><br \/>\n<a href=\"http:\/\/www.jstor.org\/stable\/i40116673\" target=\"_blank\">Leggere questo numero su JSTOR<\/a><\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-2 hundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-border-color:#ff3300;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:30px;--awb-padding-bottom:35px;--awb-background-color:rgba(224,224,224,0.95);--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-margin-bottom:0px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-text fusion-text-2\"><h2 style=\"text-align: center;\"><span style=\"color: #000000;\">Sommaire \/\u00a0<\/span><span style=\"color: #000000;\">Indice<\/span><\/h2>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-3 hundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-right:20px;--awb-padding-left:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-2 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-margin-bottom:0px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-section-separator section-separator triangle fusion-section-separator-1\" style=\"--awb-border-bottom:1px solid rgba(224,224,224,0.95);--awb-spacer-height:1px;--awb-svg-margin-left:0;--awb-svg-margin-right:0;--awb-icon-color:#ffffff;\"><div class=\"fusion-section-separator-svg\"><div class=\"divider-candy-arrow bottom\" style=\"top:0px;border-top-color: rgba(224,224,224,0.95);\"><\/div><div class=\"divider-candy bottom\" style=\"bottom:-21px;border-bottom:1px solid rgba(224,224,224,0.95);border-left:1px solid rgba(224,224,224,0.95);\"><\/div><\/div><div class=\"fusion-section-separator-spacer\"><div class=\"fusion-section-separator-spacer-height\"><\/div><\/div><\/div><div class=\"fusion-text fusion-text-3\"><\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-4 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-3 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last\" style=\"--awb-bg-size:cover;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-tabs fusion-tabs-1 classic nav-is-justified horizontal-tabs icon-position-left mobile-mode-accordion\" style=\"--awb-title-border-radius-top-left:0px;--awb-title-border-radius-top-right:0px;--awb-title-border-radius-bottom-right:0px;--awb-title-border-radius-bottom-left:0px;--awb-inactive-color:#ebeaea;--awb-background-color:#ffffff;--awb-border-color:#ebeaea;--awb-active-border-color:#278157;\"><div class=\"nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li class=\"active\" role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-0a0ad7c1146d0c857c2\" aria-selected=\"true\" id=\"fusion-tab-articles\" href=\"#tab-0a0ad7c1146d0c857c2\"><h4 class=\"fusion-tab-heading\">Articles<\/h4><\/a><\/li><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-e7afff8a83e669f3d6a\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-r\u00e9sum\u00e9s\" href=\"#tab-e7afff8a83e669f3d6a\"><h4 class=\"fusion-tab-heading\">R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-content\"><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li class=\"active\" role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-0a0ad7c1146d0c857c2\" aria-selected=\"true\" id=\"mobile-fusion-tab-articles\" href=\"#tab-0a0ad7c1146d0c857c2\"><h4 class=\"fusion-tab-heading\">Articles<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix in active\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-articles\" id=\"tab-0a0ad7c1146d0c857c2\">\n<p><strong>Phyllis M. Wrenn<\/strong>, Strat\u00e9gies argumentatives, discursives et performantielles dans un monologue humoristique de Marc Favreau<\/p>\n<p><strong>Fran\u00e7ois Bruzzo<\/strong>, Des pouvoirs de la litt\u00e9rature et de l&#8217;image: de la repr\u00e9sentation comme transfiguration et m\u00e9tamorphose. Raccourci sur Louis Marin<\/p>\n<p><strong>Simona Mambrini<\/strong>, Georges Perec e lo spazio della letteratura<\/p>\n<p><strong>Anna Maria Torri<\/strong>, I tempi narrativi nei <em>Contes de la B\u00e9casse<\/em> di Guy de Maupassant<\/p>\n<\/div><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-e7afff8a83e669f3d6a\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-r\u00e9sum\u00e9s\" href=\"#tab-e7afff8a83e669f3d6a\"><h4 class=\"fusion-tab-heading\">R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-r\u00e9sum\u00e9s\" id=\"tab-e7afff8a83e669f3d6a\">\n<p><strong>Phyllis M. Wrenn<\/strong>, Strat\u00e9gies argumentatives, discursives et performantielles dans un monologue humoristique de Marc Favreau<br \/>\nSelon Raskin (1984) l&#8217;humour textuel d\u00e9pend de la possibilit\u00e9 de deux interpr\u00e9tations, contradictoires, d&#8217;une seule surface textuelle. Malgr\u00e9 cette ambigu\u00eft\u00e9 pr\u00e9alable, le monologue humoristique doit, pourtant, rester interpr\u00e9table pour \u00eatre efficace et le monologuiste doit bien doser la cr\u00e9ation et la r\u00e9solution de ces ambigu\u00eft\u00e9s. Nous avons examin\u00e9 la structure des arguments dans un monologue de l&#8217;artiste qu\u00e9b\u00e9cois Marc Favreau, ainsi que certains aspects linguistiques du texte et de sa performance. Nous avons constat\u00e9 que ce monologuiste combine des techniques discursives typiques d&#8217;une tradition orale avec d&#8217;autres typiques d&#8217;une culture lettr\u00e9e, en cr\u00e9ant une <em>\u0153uvre (texte et performance)<\/em> qui est \u00e0 la fois originale (gr\u00e2ce \u00e0 une cr\u00e9ativit\u00e9 lexicale fort singuli\u00e8re) et accessible.<\/p>\n<p><strong>Fran\u00e7ois Bruzzo<\/strong>, Des pouvoirs de la litt\u00e9rature et de l&#8217;image: de la repr\u00e9sentation comme transfiguration et m\u00e9tamorphose. Raccourci sur Louis Marin<br \/>\nR\u00e9cemment disparu, Louis Marin, philosophe, s\u00e9miologue et historien des repr\u00e9sentations, s&#8217;est attach\u00e9, dans une quinzaine d&#8217;ouvrages, \u00e0 la critique des signes des discours culturels depuis le XVI si\u00e8cle. Ses analyses consacr\u00e9es aux rapports entre les diff\u00e9rents syst\u00e8mes repr\u00e9sentatifs (litt\u00e9rature et arts de l&#8217;espace), aux modes d&#8217;inscription du pouvoir dans et par la repr\u00e9sentation (discours et strat\u00e9gies de mise en image ou spectacle) et aux ph\u00e9nom\u00e8nes d&#8217;opacit\u00e9 et de r\u00e9flexivit\u00e9 du signe dans l&#8217;art et la litt\u00e9rature, sont conduites suivant un principe d&#8217;ind\u00e9termination selon lequel le discours de l&#8217;interpr\u00e8te est perm\u00e9able aux turbulences des lieux qu&#8217;il traverse.<\/p>\n<p><strong>Simona Mambrini<\/strong>, Georges Perec e lo spazio della letteratura<br \/>\nL&#8217;activit\u00e9 d&#8217;\u00e9crire repose selon Perec sur un besoin perp\u00e9tuel de nommer, de d\u00e9signer, de d\u00e9crire jusqu&#8217;\u00e0 ce qu&#8217;on ait le sentiment d&#8217;avoir \u00e9puis\u00e9 toute possibilit\u00e9 de d\u00e9finition. L&#8217;espace litt\u00e9raire se croise ainsi avec l&#8217;espace des objets et les mots cherchent \u00e0 tracer les coordonn\u00e9es des choses qui nous entourent pour garder leur m\u00e9moire et renouveler \u00e0 chaque fois le regard qu&#8217;on pose sur elles. Le roman-encyclop\u00e9die <em>La vie mode d&#8217;emploi<\/em> est le r\u00e9sultat de l&#8217;infatigable recherche classificatoire et du paroxysme narratif de Perec, qui fait \u00e9clater la forme traditionnelle du\u00a0roman, tout en jouant avec l&#8217;id\u00e9e borg\u00e9sienne du monde transform\u00e9 et d\u00e9doubl\u00e9 en une immense Biblioth\u00e8que de Babel.<\/p>\n<p><strong>Anna Maria Torri<\/strong>, I tempi narrativi nei\u00a0<em>Contes de la B\u00e9casse<\/em>\u00a0di Guy de Maupassant<br \/>\nL&#8217;interaction lecteur\/texte dans la lecture des <em>Contes de la Becasse<\/em> de Maupassant est guid\u00e9e par un r\u00e9seau complexe d&#8217;indices linguistiques &#8211; les temps verbaux &#8211; dont la distribution permet de rep\u00e9rer les diff\u00e9rents <em>plans<\/em> narratifs et les <em>zones<\/em> de r\u00e9cit et de commentaire. Les temps verbaux orientent ainsi le \u00abd\u00e9gr\u00e9e d&#8217;alerte\u00bb du lecteur et son attitude de r\u00e9ception.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-text fusion-text-4\"><h2>Notes et commentaires\/Note e rassegne<\/h2>\n<p><strong>Marcel Buordette-Donon<\/strong>, <em>Des \u00abFautes de Fran\u00e7oise\u00bb au g\u00e9nie linguistique ou Raymond Queneau, un exemple de plurilinguisme litt\u00e9raire<\/em><\/p>\n<p><strong>Elisabeth Scali Pease<\/strong>, <em>L\u2019espace, la m\u00e8re, l\u2019impasse: <\/em>Nedjma<em> de Kateb Yacine<\/em><\/p>\n<p><strong>Bertrand Westphal<\/strong>, <em>Pandore et les Dana\u00efdes, Histoire et temps chez Patrick Modiano<\/em><\/p>\n<p><strong>Gilles Banderier<\/strong>, <em>Impressions de Montaigne<\/em><\/p>\n<h2>Comptes rendus\/Recensioni<\/h2>\n<p><em>Atti della Natio Francorum<\/em>, a cura di <strong>L. Petroni<\/strong>, <strong>F. Malvani<\/strong> (Davide Monda)<\/p>\n<p><strong>S. Weil<\/strong>, <em>Poesie e altri scritti<\/em>, trad. e introd. a cura di <strong>A. Marchetti<\/strong>, postfazione di <strong>G. Scalia<\/strong>\u00a0(Claudio Longhi)<\/p>\n<p><em>Politeia e sapienza, In questione con Simone Weil<\/em>, a cura di <strong>A. Marchetti<\/strong> (Chiara Zamboni)<\/p>\n<p><em>Il \u00abroman noir\u00bb. Forme e significato. Antecedenti e posterit\u00e0<\/em>, a cura di <strong>B. Wojciechowska Bianco<\/strong>\u00a0(Maria Teresa Moia)<\/p>\n<h2>Notes de lecture\/Pubblicazioni ricevute e schede<\/h2>\n<h2>Actualit\u00e9s\/Notiziario<\/h2>\n<p>Pubblicato con contributi del Ministero dell\u2019Universit\u00e0 e della Ricerca Scientifica e Tecnologica, e dell\u2019Universit\u00e0 di Bologna. Lavori eseguiti con un contributo del C.N.R.<\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"<h3 style=\"text-align: center;\" data-fontsize=\"34\" data-lineheight=\"47\"><em><strong>Num\u00e9ro libre<\/strong><\/em><em><strong><sup><\/sup><\/strong><\/em><\/h3>\n","protected":false},"author":2,"featured_media":1353,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1315","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rivista"],"_links":{"self":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/1315","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/comments?post=1315"}],"version-history":[{"count":10,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/1315\/revisions"}],"predecessor-version":[{"id":1878,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/1315\/revisions\/1878"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media\/1353"}],"wp:attachment":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media?parent=1315"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/categories?post=1315"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/tags?post=1315"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}