مجله مطالعات زبان فرانسه
پیاپی 5 (Autumn-Winter 2011)

In line with Jakobson who presented the principle of equivalence (or parallelism) as characteristic of the poetic function، Marc Dominicy، his successor، defines his theory، in a perspective neo-Jakobsonien، by focuing on the question of the interaction of the form and the content. According to this theory، the formal equivalents in a poetic text act on the cognitive plan by the evocation of the prototypes pre-established. In this direction، the formal characteristics of the poem are necessary for the mobilization of a poetic interpretative procedure. The objective of this paper is to show، by resting on «the theory of the evocation» of Marc Dominicy and from some examples of the Gautier''s poetic work، the relationship established between the language and the reality and to see how the poetry is understood through the evocation. We try to follow the transformations which the expression undergoes in the passage of a narrative form in a poetic form.

The present article is interested in the study of the recourse to the analogy as the linguistic practice serving as means of description of the various realities relative to the everyday life and sociocultural representations from which it arises. It enters within the framework of a pragmatic study of the discursive uses of the analogy taking shape within two different cultures، namely، the French and Tunisian culture. So، it is interested in the study of the analogy as the linguistic practice taken in its local and universal dimensions. The treatment of the examples will be made within the framework of the analysis، at first، the analogical uses common to French and to dialectal Arabic and، secondly sociolinguistic variations relative to both above-named codes from extra linguistic anchoring concerning the mental and social representations of essentially cultural nature circulating in the speech communities in which these uses were listed.:

Time is one of our life’s realities and one of the dimensions of our existence. It exerts its power over mankind، leading him to his eventual demise. Thus it occupies an important place in the man’s imagination. Realizing the mortality of man and of the ephemeral characteristic of the material world، and in other words، of the indisputable power of time، the mystics tried to conquer time and، through mysticism،to transform the mortal man into an eternal one. This study is an attempt to define themystic time in Iranian mystic poetry of Mawlânâ Rumi and Hâfez. To do this، we rely on the methods of the imaginary and the thematic criticisms expressed primarily by Gaston Bachelard، Georges Poulet، Gilbert Durand and Jean-Pierre Richard.

The present article is to study “dream” in Marcel Proust''s novel. ‘Dream is an unconscious picture which is made during sleep. In the present research، the relationship between dream and literary creation is examined. Therefore، the link between dream and fact، the connection between dream (dreaming at night) and involuntary memory (dreaming in the day) and the role of dream in recognizing «hidden self or deep self» are studied respectively. Dream is also examined based on Freud''s perspective in Marcel Proust''s novel. At last، it would be suggested that dream similar to the involuntary memory by discovering the deep self creates a literary metaphor which is one of the most important characteristics of Marcel Proust''s style، and in this way، the dream role is shown in the literary creation.

The Man who is subject to permanent disasters cannot live without hope، and having hope means to wait. Man has always been waiting for a savior. In patriarchal societies، this man is called by different names depending on different cultures: Souchiante، Buddha، the Messiah، and Mahdi. It is the awaited man who will bring a message، a message which in the state of anxiety and perpetual anguish of the soul is the only permanent sign of hope. In the Western world، when Man had not yet created machines، he truly waited for someone، but in our era of wars and the conquest of space، what is he waiting for? Beckett is one of the thinkers who have asked this question. We would like to show here، through the study of Waiting for Godot، that it is ‘waiting’ itself that becomes the subject matter of his theater. His characters manifest the humanity in this strives towards something which makes complete men of them. The play is thus a parable of the existence of modern man faced with a world in which he can no longer rely on the traditional foundations of his existence.

In the theater of Aimé Césaire, we find a hero whose mission is to bring his people to regain its lost identity and regain its independence from. Launched in the conquest of freedom for his people, the hero césairien faces a misunderstanding that led to its abandonment and loneliness. This is an unfortunate misunderstanding that pretends to be an avatar of the colon. His intransigence, his frenzied and frantic to save his people from the historical alienation precipitated into the deep tragedy, which devotes its political failure. This failure results from the illusion that he gave of being alone to act but also to have acted with excess. However, the people who never abandoned its commitment to regain his freedom will realize the nobility of the ideal of the hero césairien and resurrected into a myth. Césairien death of the hero becomes a redeeming death which opens the way for the revolution.