La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
La r´
ep´
etition comme fond ou figure
une ´
etude de cas
Carolina Lindenberg Lemos
Universit´e de Li`ege Universit´e de S˜ao PauloCAPES
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
1
La r´
ep´
etition et la tensivit´
e
Le premier style
Le deuxi`
eme style
Climax
2
La pertinence des r´
ep´
etitions
La pertinence de la r´
ep´
etition
3
Fond et Figure
Fond et Figure
Submarino
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
Le premier style
Structure
La r´
ep´
etition a une fonction propre, qui est de rendre manifeste la
structure du mythe.
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
Le premier style
Chaˆıne r´
ep´
etitive
Chaˆıne r´
ep´
etitive
diff´
erence de position dans la chaˆıne
premier ´el´ement : information nouvelle second ´el´ement : information donn´ee
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
Le premier style
Diss´
emination s´
emantique
diss´
emination s´
emantique
premier terme : av`
enement du nouveau x second terme :
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
Le premier style
Miss Otis regrets
Miss Otis regrets she’s unable to lunch today
Madam, Miss Otis regrets she’s unable to lunch today She is sorry to be delayed
But last evening down in Lover’s Lane she strayed Madam, Miss Otis regrets she’s unable to lunch today
When she woke up and found that her dream of love was gone Madam, she ran to the man who had led her so far astray And from under her velvet gown
She drew a gun and shot her lover down
Madam, Miss Otis regrets she’s unable to lunch today
When the mob came and got her and dragged her from the jail Madam, they strung her upon the old willow across the way And the moment before she died
She lifted up her lovely head and cried
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
Le premier style
Miss Otis regrets
Miss Otis regrets she’s unable to lunch today
Madam, Miss Otis regrets she’s unable to lunch today She is sorry to be delayed
But last evening down in Lover’s Lane she strayed Madam, Miss Otis regrets she’s unable to lunch today
When she woke up and found that her dream of love was gone Madam, she ran to the man who had led her so far astray And from under her velvet gown
She drew a gun and shot her lover down
Madam, Miss Otis regrets she’s unable to lunch today
When the mob came and got her and dragged her from the jail Madam, they strung her upon the old willow across the way And the moment before she died
She lifted up her lovely head and cried
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
Le premier style
Premier style tensif
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
Le deuxi`eme style
L’insistance
Perte de direction
Du familier au trop-plein
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
Le deuxi`eme style
Flottement de styles
Style d´
ecadent
opposition nouveau x connu
r`
egle `
a saisir
confort de l’attendu
Style ascendent
bornes minimales du style d´
ecadent
nature complexe et oppositive du langage
d´
esir de changement
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
Climax
The Hollow Men
This is the way the world ends
This is the way the world ends
This is the way the world ends
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
Climax
The Hollow Men
This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
Climax
La direction apr`
es la r´
etension
la fermeture et la concentration
la r´
etension de la progression temporelle
la mont´
e de la tension expectante du changement
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
1
La r´
ep´
etition et la tensivit´
e
Le premier style
Le deuxi`
eme style
Climax
2
La pertinence des r´
ep´
etitions
La pertinence de la r´
ep´
etition
3
Fond et Figure
Fond et Figure
Submarino
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
La pertinence de la r´ep´etition
Les ´
el´
ements r´
ep´
etitifs
Les ´
el´
ements r´
ep´
etitifs pertinents
des sons
des traits graphiques ou plastiques
des cellules rythmiques
des mots
des syntagmes
des traits figuratifs
des motifs
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
La pertinence de la r´ep´etition
R´
ep´
etition pertinente – The Raven
Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore — While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. “Tis some visiter,” I muttered, “tappig at my chamber door — Only this and nothing more.”
Ah, distinctly I remember it was in the bleak December ; And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow ; – vainly I had sought to borrow From my books surcease of sorrow – sorrow for the lost Lenore — For the rare and radiant maiden whom the angels name Lenore — Nameless here for evermore.
[...]
And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door ; And his eyes have all the seeming of a demon’s that is dreaming, And the lamp-light o’er him streaming throws his shadow on the floor ; And my soul from out that shadow that lies floating on the floor Shall be lifted – nevermore !
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
La pertinence de la r´ep´etition
R´
ep´
etition non pertinente – My mistress’ eyes...
My mistress’ eyes are nothing like the sun ; Coral is far more red than her lips’ red ;
If snow be white, why then her breasts are dun ; If hair be wires, black wires grow on her head. I have seen roses damasked, red and white, But no such roses see I in her cheeks ; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know
That music hath a far more pleasing sound ; I grant I never saw a goddess go ;
My mistress when she walks treads on the ground. And yet, by heaven, I think my love as rare As any she belied with false compare.
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
1
La r´
ep´
etition et la tensivit´
e
Le premier style
Le deuxi`
eme style
Climax
2
La pertinence des r´
ep´
etitions
La pertinence de la r´
ep´
etition
3
Fond et Figure
Fond et Figure
Submarino
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure Fond et Figure
Relations spacio-topologiques
Figure x Fond
plus saillant x moins saillant
plus homog`
ene x plus h´
et´
erog`
ene
r´
esistant `
a la variation x plus variable
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure Submarino
Traits r´
ep´
etitifs
organisation syntagmatique
graphismes / traits plastiques
paradygme : traits en commun
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure Submarino
Saillances et la question du passage
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure Submarino
Effet de la r´
ep´
etition
un exemplaire fait passer le message
plusieurs cr´
eent la tension
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure Submarino
Orange
(a) Ours (b) Lapins
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure Submarino
La lin´
earit´
e
Lin´
earit´
e et l’enchaˆınement n´
ecessaire
Plusieurs parcours de lecture possible
La r´ep´etition et la tensivit´e La pertinence des r´ep´etitions Fond et Figure
