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Articles


Cycnos | Volume 21 n°1

Identité, identification et niveaux de qualification : objets et circonstances

L’article soulève la question de savoir comment on identifie un événement, et propose une analyse de certains phénomènes syntaxiques (le rôle des circonstants, les question échos, certains cas d’ellipse) à partir de la notion d’identification définie en termes de double niveau de qualification : QLT1 (qualification identificatoire), QLT2 (qualification seconde de spécification). Ce dispositif théorique met en œuvre les notions de relation lâche et serrée et de stabilisation référentielle. L’identité de l’événement  se construit et se spécifie davantage en fonction des qualifications qui s’y ajoutent, chaque ajout stabilisant cette identité. This paper raises the issue of how a state of things can be identified, and aims at analysing some syntactic phenomena (the role and place of adverbial elements, echo questions, certain cases of ellipsis) using as a theoretical basis the notion of identification defined in terms involving two levels of qualification : QLT1 (identifying qualification) and QLT2 (specifying qualification). This theoretical apparatus uses the notions of loose and tight relationships and of referential stabilisation. The identity of the event is built up and is progressively specified by added qualifications, each of them stabilising this identity.

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Cycnos | Volume 28 n° Spécial

Les refus de The Crimson Petal and the White (Michel Faber) : irrésolutions, frustrations, et compensations de genre

The narrative of the neovictorian novel The Crimson Petal and the White (2002) lies on a complex though coherent set of refusals, the objects of which are linked to gender, class, or literary genres. The diegetic or stylistic refusals are here analysed in their symptoms (the absence of norms in the text that makes the refusal even more salient), their objects and the conflicts then raised (tradition vs. subversion), the narrative forms that either betray, transmit or cancel them (ellipsis for instance), and the aesthetic strategies lurking behind each of them. The question of the (ir)resolution of refusals is then asked, to analyse the genre frustrations the novel builds up and plays with. Through the writing of sex and voyeurism, Faber attempts at compensating for these frustrations. Eventually the many embedded narratives are studied in their ultimate strategy not to explain refusals but to legitimate them as the prime movers of both the plot and the aesthetics of the book.

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