Theory Of Enunciation Research Articles

In search of a musical subject in serial music: analytical examples from the oeuvre of the Finnish composer, Einojuhani Rautavaara

The problem of subject is studied within the frame of A.J. Gremas's theory of uttered enunciation (énonciation énoncée). An author can create in the work of art simulated imitations of the enunciation, including also its subject or persona. Likewise, Umberto Eco claims, an author can be manifested in the utterance as a textual strategy, more precisely as a recognizable style or idiolect. Textual strategies for creating the author's musical simulacra or portraits are demonstrated in Einojuhani Rautavaara's twelve-tone pieces, written during 1957–1965. The most significant common factor within the corpus is a morphologically constant melodic figure. Its occurrences can be interpreted as signs of the author, signs of his aesthetic presence in his works. But at the same time the little gestalt acts as the main catalyst for motivic processes, as the internal hero or the subject of the composition.

Do discurso publicitário de origem popular: O anúncio de videntes

lnthis paper, I examine the question ofsubjectivity in advertisements for clairvoyants, according to Discourse Analysis Theory (French version) and some elements of Enunciation Theory. These advertisements result from the interrelation between two kinds of discourse, the advertising andthe spiritualistic, as manifested inlower class publications. I show that, in spite ofits popular origin, this kind ofpropaganda in fact repeats the patternofthe elite class - with its ideology orpower, domination and alienation, both in linguistic and discourse terms.

The Linguistic Illusion of Alterity: The Free Indirect as Paradigm of Discourse Representation

In the winter 1991 issue of Diacritics, the two leading articles trace the reverberations of a long-standing debate between the adherents of a formalist and, as they claim, truly linguistic approach to language and the proponents of a pragmatic, antiformalist conception of language. Oswald Ducrot's contribution discusses the importance of Charles Bally as an unrecognized precursor of latter-day pragmatics, particularly speech-act theory; Ann Banfield, in turn, attempts to annihilate pragmatics from the perspective of ruleoriented, empirical linguistics. The ostensive topic of the two articles is the status of voice within a polyphonic account of linguistic expression. Ducrot rewrites Bally's distinction between the speaking subject and the modal subject in the light of his own theory of linguistic enunciation, proposing a tripartite distinction between a communicating subject (in the first example sentence of our epigraph, the gentleman), a speaking subject (the maid who utters this sentence to her employer), and a modal subject (the gentleman's wish to speak with Madame) [12]. Likewise, in La Fontaine's famous characterization of the miser's fear of burglary (our second epigraph) Ducrot notes a noncoincidence between communicating [the narrator] and modal [the miser] subjects, arguing that La Fontaine' s line combines the two points of view in a single utterance [17]. Ann Banfield, whose paper is a response to Ducrot's criticism of her work in his book Le dire et le dit, characterizes Ducrot's proliferation of voices as a-to her mind-illicit multiplication of speaker functions and maintains that her own seemingly more unitary, univocal theory of discourse is the more radically polyvocal proposal. Banfield's theory dispenses with the unitary speaker function and, in an adumbration of polyvocality, allows texts to shift from one SELF (center of consciousness) to another at each sentence (S) boundary. The alternatives between Ducrot's model and her own, she argues, therefore need to be

Language, action and context linguistic pragmatics in Europe and America (1800–1950)

Pragmatics is considered to be a fairly recent addition to the sciences of language, dating back to the works of Austin, Searle and Grice. However, this apparently new approach to language has its roots in the philosophical, psychological and linguistic traditions of the past. This is true of all four approaches to pragmatics which one can distinguish in Europe and American the Anglo-Saxon one which emerged from Ordinary Language Philosophy and which has dominated the field until the present; the French one which is based on the theory of enunciation elaborated by Benveniste; the German one which wants to study pragmatics as part of a general theory of action; and the American one of pragmatism. To varying degrees all these strands of thought are blind to their own history, and have cut themselves off from a wealth of ideas, developed during the 19th century, of how language and the mind work. In this article we want to give an overview of the evolution of these traditions and stimulate discussion among colleagues in all fields and disciplines which are based in one way or another on linguistic pragmatics.

Lectures du Cantique des Cantiques. De l'enigme du sens aux figures du lecteur

The purpose of the work is to throw light on the various ways in which readers implicated themselves in the song of songs, as well as the historical figures those readers embodied within the readings. The overall aim is to show that it is these figures and the way in which they are implicated in the act of understanding that in reality modulate the contrasting and occasionally contradictory history of the text. From this point of view, the broader ambition is to contribute to the history of exegesis. After clarifying the practical and theoretical limits inherent in modern approaches to the song of songs, a denial of subjectivity is demonstrated whose action is the very principle of the traditional allegorical reading of the text. This thesis is supported by analysis of a sample of texts bearing witness to the functions and usages of the poem in the patristic period (baptismal catechisms, hymnology, epistolary literature, commentaries proper). These texts are examined on the basis of suggestions furnished by a problematic of quotation and paraphrase derived from the theory of enunciation. Their analysis shows that an allegorical reading of the song is not a semantic operation but above all an enunciative act seeking to make it possible to implicate the reader in the text. Subsequently, there is an examination of the meaning of the repetition, consisting of the continuation through the centuries of this traditional manner of reading, by analysing texts by guillaume of s. Thierry, gertrude of helfta and theresa of avila. It is shown how the appearance of sameness cloaks a rich diversity, against the background, nonetheless, of an unchanging attitude inherited from the patristic period. Simultaneously, a comparison of the christian with the jewish reading shows how divergences in interpretation - the only ones perceptible for a semantic approach- play a subordinate role relative to a shared way of conceiving of reading and of being implicated in it.

Représentations métalinguistiques et explication grammaticale. Etude de quelques emplois du modal shall en indépendantes et principales

Metalinguistic representations and grammatical theory. A study of shall in independent and main clauses. In this article, we propose to see how metalinguistic representations can account for various uses of shall in independent and main clauses. Thee study is made within the framework of Culioli's enunciative theory in which one term is referred to, or located by, another. This concept of oriented reference is used to analyse an etymological semantic value in which two subjets are viewed in reference to each other. We then examine how other oriented relations between terms exert constraints on semantic values or help create new ones : the nature of the terms related - subjects as parameters of the system of reference, syntactical subjects or notional domains - must also be taken into account.

The enunciative contract and media planning

The purpose of this semiotic approach is to improve the media plan when placing an advertising campaign. It derives from the most recent research in linguistics, that of pragmatics and the theory of enunciation, and is based on an analysis of the enunciative contract of each of the media vehicles and the campaign to be placed. This is of course an additional approach and is not intended to replace those commonly used in media planning. It proves to be particularly useful when certain media offer equivalent performances in terms of coverage, frequency, and balance. The example of the medical press, for which the usual, traditional criteria have proven insufficient, demonstrates how this new approach enables a rational choice to be made based on the compatibility or incompatibility of the enunciative contract. The medical press is used as a model for the approach and provides a preliminary field of investigation. This new approach can be applied to other types of media vehicles and surely to other media.

Dialogue et supposition des E.S. de Gamaches

ABSTRACT: The work of Gamaches (1718), belongs to the rhetorical tradition. He analyses the "tours brillants" and shows that they are founded upon a "supposition". This simplification of the utterance by an implicit dimension enables the speaker to confront two conceptual spaces, two interests and two evaluations, and, by multiplying speech acts, enables him to exhibit two fictitious subjects of enunciation. This polemical integration of "the other" and of his point of view thus creates a sort of dialogism within the discourse. However, Gamaches has not attained a linguistic theory of enunciation for two reasons: he analyses semantic relations that the utterances organize, and he only considers their underlying logic.

The "I" as Autobiographical Eye: Reading Notes on a Few Pages of Stendhal's "Life of Henry Brulard"

This essay is the result of research I have pursued for some years on autobiography. In my undertaking, autobiographical texts such as Augustine's or Rousseau's Confessions, Descartes's Discours de la Methode, and Retz's Memoirs gave me the opportunity to approach, in various ways and at simultaneously theoretical and methodological levels, the problem of kenonciation that Emile Benveniste raised in contemporary semiotics and semantics. At the same time, it seemed to me more and more obvious that the very position of such a problem refers both implicitly and explicitly to some of the basic presuppositions concerning the syntheses of time and subject that were articulated in Western philosophy by Plato and Aristotle and taken up again in Descartes, Kant, and Husserl. However perennial such a problematic might seem, it appears that literary texts, in their utmost singularity, would exemplify the way in which an individual being, immersed in his own history, is concerned with the enigmas of his existence, birth, and death, and how he attempts through writing to shape, express, and transcend them in a work of art. Working in the past years on Stendhal and his endeavor to grasp and articulate those existential aporias that are, on another level, the same as the contradictions encountered by a theory of enunciation, I found a determinant role played in his Life of Henry Brulard' by other means of expression such as visual arts or music; paintings or arias cited as titles simultaneously interrupt the autobiographical narration and take it up again at some of its strategic turning points. In my attempt to understand the functions that paintings (and arias) fulfill in Stendhal's autobiographical writing as solutions to its basic aporias, I introduced the notion of syncopation or interruption-reprise whose definitions,

Dramatiseret museumsformidling. Når publikums deltagelse får betydning

Audience participation is playing an important role in museum mediation at living history museums around the world. e aspect of participation is challenging the traditional concept of meaning making, and I will demonstrate the need for new conceptual tools for dealing with the meaning making issue in a way that enhances participation as a method for meaning making in living history museums. Building on the theoretical framework of enunciation theory and the method of participative observation back in 2008–11, when I was researching mediation in the open-air museum Den Gamle By in Aarhus, Denmark, it is my ambition to contribute to the development of the conceptual tools for dealing with the issue of audience participation in a way that emphasizes new goals for mediation.