STRUCTURALIST USES OF PEIRCE: JAKOBSON, METZ ET AL.

Most of this paper will consist in the setting up of premises for the purpose of making two or three fairly simple points. Some of those premises will be about structuralist semiology, which I take to be relatively familiar. Nevertheless, for the purposes of exposition, I shall take the familiar version of structuralism, as a homogeneous theoretical field identifiable by a few key terms ('synchronic/diachronic', langue/parole, 'arbitrary/motivated' etc.) as imprecise, and shall re-do it as a set of controversies over particular issues. The use of Peirce made, for instance, by Jakobson or by Eco are intelligible from the positions taken in these debates. The other premises will be about Peirce, which I take to be relatively unfamiliar, and which, I shall 'do', taking the risks of an objectifying exegesis. The points I shall make will pertain to both the "theory" and the "applications" of semiotics, principally during the 1970s. What I am calling, with scare marks, the "theory" is the set of propositions taken to define the presuppositions of semiotics and the range of objects to which they are deemed to apply. Under the head of "applications", I shall limit my discussion to Jakobson on language, and Metz and Wollen on the cinema. The scare marks, of course, are pincers, designed to show that what was joined in heaven has been put asunder by the unnatural tendency of language, and theory, to make problematical distinctions

The first french translation of free indirect discourse in Jane Austen s Persuasion

Dans son dernier roman achevé intitulé Persuasion, Jane Austen se sert fréquemment du style indirect afin de représenter la pensée du personnage principal, Anne Elliot. Ce roman fut traduit en français pour la première fois en 1821 par Isabelle de Montolieu, publié à Paris sous le titre de La Famille Elliot, ou l ancienne inclination. Qu est-ce que le style indirect libre devient dans la narration de la première traduction française de Persuasion ? La formulation de cette question, que nous envisageons à partir d un corpus de textes théoriques, fait suite à un certain nombre de travaux consacrés aux relations entre la traduction et le discours rapporté qui ont mis en évidence le rôle du style indirect libre dans la traduction de Montolieu. On propose pour la première fois l application des concepts narratologiques à l analyse de cette traduction : notre étude s appuie ainsi sur des notions opératoires susceptibles de saisir sa singularité narrative et le rapport entre le discours rapporté et la traduction. Le troisième chapitre de notre étude débute sur l analyse de notre traduction. Grâce aux concepts issus de la narratologie surtout à tendance énonciative , nous avons pu regarder au-delà de la phrase pour finir par remarquer que le style indirect libre est surtout très répandu dans la narration de La Famille Elliot. Nous souhaiterions ici combler une lacune en consacrant la présente étude à un phénomène souvent jugé extraordinaire . Pour autant, le présent ouvrage ne doit pas être considéré uniquement comme une étude spécialisée, car il a aussi l ambition de contribuer à l étude du discours rapporté au sein du texte traduit en général.In Persuasion, Jane Austen uses this technique to present Anne Elliot s consciousness. Persuasion, Austen s posthumously published late novel is first translated by Isabelle de Montolieu as La Famille Elliot, ou l ancienne inclination, Paris, 1821. This thesis analyses the translation of FID from Persuasion to La Famille Elliot. How does Montolieu handle this technique? In chapter 1 we point out that the main reason Montolieu s use of FID in La Famille Elliot has been neglected for so long has far less to do with Austen s fortunes in France than with an obsession with lexical and semantic equivalence within translation studies. One of the main purposes of this study is to extend the vision of translation studies beyond the level of the sentence. We think that we achieve this by setting out to document the existence of FID in the target text narration. I argue in chapter 2 that it is impossible to comment on the narrator or FID in La Famille Elliot with any precision without first analysing definitions of these abstractions within narratology. These analytical concepts may then, only then, be applied meaningfully to the target text. Ultimately, this is what this present study does in so far as it is a target-oriented translation study that draws on key concepts from the field of narratology. A re-evaluation of the target text narration within the conceptual framework of narratology reveals extensive use of FID. In chapters 3 and 4, our analysis demonstrates that sophisticated use of FID is frequently in evidence in the target text narration. In chapter 3, we analyse several passages of FID that often function to represent the complex life of the heroine s mind as she converses with herself. In chapter 4, we analyse numerous passages of FID that seamlessly wed the narration in La Famille Elliot to the heroine s point of view (PDV), demonstrating that the narration achieves this focus on the heroine s consciousness through syntactically unmarked fragments of FID thought report.PARIS4-Bib. électronique (751059905) / SudocSudocFranceF