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In The Return of the Author Eugen Simion addresses the means by which an author can be present in his or her works without the actual involvement of their biographical person/persona - their real-life identity. If, as Roland Barthes states, during the reading process the reader craves / desires the author's figure, an essential way this presence is going to appear is the author's voice - it is style. But the critical text itself is not devoid of style. Eugen Simion points out the essential part that language and form play in Roland Barthes' theoretical discourse. and concludes that there are "fictions of ideas" that are literature in their own right. This article aims to explore the presence of the author within the critical text and the "pleasure of reading" the critical text/such a text, seeing that, as Roland Barthes point out, only a „texte de jouissance" can speak of another „texte de jouissance". When describing Roland Barthes's discourse Eugen Simion speaks of its, but tenderness is also the term Ion Bogdan Lefter uses to describe Simion's own critical approach. This article explores the author's presence in Eugen Simion's critical discourse in his work The Return of the author and the particularities of his voice as a writer. [ABSTRACT FROM AUTHOR]

Passive sentences have been traditionally analyzed in French by descriptive studies in the aim of elucidating the use of the auxiliary verbs être and se faire (Tesnière 1988; Le Goffic 1993; Riegel et coll. 1994; Le Bellec 2014). In Spanish, the formally equivalent auxiliary verbs are ser and hacerse but their use is not concurrent since hacerse is semantically restricted to express beneficial actions (e.g., Se hizo masajear la espalda, He had his back massaged). The goal of our paper is to compare –in spoken French and Spanish– the grammatical and lexical means used in the topicalization of non-volitional patients involved in unpleasant actions. Our results showed that French speakers produced 59.3% of passive sentences, whereas Spanish speakers showed a preference to conceptualize the Patient-victim as an accusative within active voice sentences (37.5%). Concerning the passive sentences produced by each group, French speakers showed an overt preference for the auxiliary se faire (78.9%), whereas in Spanish the Patient-victim's topicalization was most frequently marked by a Latin-derived prepositional object complement (58.8%). Our paper indicates that the topicalization of a Patient-victim is a distinctive typological feature between French and Spanish, and suggests the salience of passive-perspective conceptualizations in French for the semantic domain of unpleasant actions. [ABSTRACT FROM AUTHOR]

In this very personal text, Marie Chouinard talks about her work, from the very beginning, with voice, breath, sound and, above all, with and through silence. She discusses her choreographic work, «M», which premiered on January 26, 2023 at the Grand Théâtre de Québec, particularly from the point of view of her relationship to sound and music. She talks about her collaboration with composer Louis Dufort, with whom she has worked for 25 years, and the special role he played in «M», which incorporates a “vocal score” by the choreographer. [ABSTRACT FROM AUTHOR]

Copyright of Quetes Litteraires is the property of Katolicki Uniwersityt Lubelski Jana Pawla II, Wydzial Nauk Humanistycznych, Institut Filologii Romaj and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

If the French adverb là “of opening” (Barbéris, 1989) have already attracted attention, this study shows, on the one hand, that this là, which we will call “narrative”, can be interpreted as a temporal deictic of the story, and, on the other, that this là forms with the conjunction et, which thematizes it without imposing a strong syntactic link on it, a compound connector specialized in the expression of consecutiveness in self-narrative texts, which suppose that a voice recounts past events. [ABSTRACT FROM AUTHOR]

Il rango assunto dalla musica strumentale nell’estetica del romanticismo tedesco si accompagna, come è noto, nella prassi musicale dell’epoca a un perfezionamento della tecnica di costruzione degli strumenti musicali. Anche in letteratura l’interesse per la meccanica strumentale si riscontra in diversi autori, collegandosi alla fascinazione/demonizzazione nei confronti della tecnologia in generale. Sempre più spesso agli strumenti viene attribuita una voce che si pone in concorrenza con la voce umana, ora come imitazione, ora come superamento e potenziamento. In particolare nell’opera di E. T. A. Hoffmann, lo scrittore che più di ogni altro dispone di competenze musicali professionali, strumento e voce umana (quest’ultima intesa come manifestazione immediata dell’anima) sono oggetto di una serie di scambi, mutazioni e sostituzioni che creano un fitto intreccio fra ciò che si presenta come ‘naturale’ e ciò che è artificio (o illusionismo). Interessanti in particolare i casi del violino nel racconto Rat Krespel e dell’Unsichtbares Mädchen nel romanzo Kater Murr.

Copyright of Traitement Automatique des Langues is the property of Association pour le Traitement Automatique des Langues (ATALA) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Éducation et Francophonie is the property of Association Canadienne d'Education de Langue Francaise (ACELF) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Topiques, Études Satoriennes is the property of Topiques, Études Satoriennes, Journal of the SATOR (Société d'Analyse la Topique Romanesque) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Topiques, Études Satoriennes is the property of Topiques, Études Satoriennes, Journal of the SATOR (Société d'Analyse la Topique Romanesque) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Simone de Beauvoir Studies is the property of Brill Academic Publishers and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Médiévales is the property of Presses Universitaires de Vincennes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Analysis of the preface to Kitāb al-Ḏaḫīra fīmaḥāsin ahl hāḏihi l-Ğazīra by Ibn Bassām al-Šantarīnī (born circa 1069, died 1147-48), a famous anthology of the verse and prose production of Arab-Andalusian authors of the 11th century, shows that the work, beyond its literary project and the historiographical dimension that this includes, functions as a manifesto intended to rehabilitate the era of the kings of taifas against which the new Almoravid power was erected. Implicitly drawing a parallel between the vicissitudes of his time and those of his own life, the author inseparably links literature, the history of al-Andalus and his personal history. He does not hesitate to express his anger, his frustrations and his hopes, his thirst for recognition too, for himself and for the Andalusians, so that it is impossible to separate the author from the object of his work. In this sense, Ibn Bassām writes in some way the autobiography of the century of the taifas and talks about himself through the voices of the authors he quotes. [ABSTRACT FROM AUTHOR]

How the Journal d'un curé de campagne is written is intimately linked to the night because of the narrator's insomnia. We will demonstrate that this night is the expression of an inner night, through the carmelite mysticism of John of the Cross. The writing is purified by the silence and anguish of the priest's mystical night: we will see that his writing becomes a prayer, that is to say, the hosting of divine and human voices in silence, based on Jean-Louis Chrétien's phenomenological approach of prayer. This idea of writing will allow us to understand the relationship of Bernanos himself to his own writing: this nightly writing listens and gives voice to those who have none. [ABSTRACT FROM AUTHOR]

The article discusses The poet's loyalty, which includes French poetry has never ceased to draw attention to it hopes and to revise claims downwards, such as had could exalt them romanticism, open access to ideality, reinvent life, drive out tyrants, eradicate evil, lead people to the light, and to give a semblance of immortality to the objects of song less capable of celebration, less harmonious, less elevated, speaking willingly in a low voice, more muffled and discordant.

Subjectivity gives rise to the idea that language serves more than one purpose and as such it is manifested on the structural level of language. Subjectivity is the source of fixed expressions, forged by speakers through repetitions of a statement to the point that it becomes idiomatic. These expressions no longer belong to the parole of a single individual, but to the collective voice of human beings speaking the same language. Briefly speaking, subjectivity conceived as such refers to a human and collective subjectivity. This conception of subjectivity which our research proposes is the result of different definitions that were developed in other studies to date. This study first focuses on the nature of subjectivity through the Guillaumian approach, and then it will try to draw the contours of subjectivity on syntactic, semantic and pragmatic levels, which constitute the nature of subjectivity. The overall results of the research that is presented in this article points to the conclusion that there is not a single subjectivity, but several subjectivities. [ABSTRACT FROM AUTHOR]

The article presents Olivier Barrot's chronicle, which includes the least intriguing, that one might think forged from scratch, sound like Gide's Julius de Baraglioul or Archibald Olson Barnabooth de Larbaud, names made to be spoken to high voice. Fun moments bookish excavations shared by contributors and readers of Histoires literary, is not difficult to learn that Anne Marie Paule Delétang was born in Roubaix on June 18, 1902 in a bourgeois family.

Based on clinical experiments, we once again question the bond between an autistic child and the voice. We defend that the body and language resonate based on tone, the real dimension of a "sonorous" voice. Mechanical voices, artificial voices and musical sentences are used by autistic children to play with this dimension of tone, allowing for an opening towards language. Thus, identifying a child's possibilities concerning resonance offers a new clinical perspective. [ABSTRACT FROM AUTHOR]

Résumé: Introduction: L’inconfort, la douleur et le stress ont un impact défavorable sur le développement psychomoteur de l’enfant prématuré. Des études récentes indiquent que la douleur et le stress sont associés à une réduction de l’activité parasympathique. Nous émettons l’hypothèse que le cocooning associé à la voix humaine a un impact sur le tonus parasympathique chez l’enfant prématuré. Méthode: La variabilité de la fréquence cardiaque (VFC) a été comparée avant et après des phases standardisées de cocooning associé à la voix humaine effectuées par la mère, d’une part, et par une tierce personne, d’autre part. L’indice de VFC étudié était représentatif du tonus parasympathique. Résultats: Dix enfants ont été inclus (âge gestationnel médian=33 semaines (extrêmes : 30+4–33+2). Une augmentation de l’indice de VFC après la période du cocooning associé à la voix humaine comparée à la période de base a été observée, que l’intervention ait été effectuée par la tierce personne ou par la mère (p <0,05). Les valeurs de l’indice de VFC n’étaient pas différentes lorsque l’intervention était effectuée par la mère ou par une tierce personne. Conclusion: Notre étude montre donc l’impact favorable du cocooning associé à la voix humaine sur le tonus parasympathique de l’enfant prématuré. Cependant, aucune différence significative n’a été observée entre l’intervention de la mère et celle de la tierce personne. Ce résultat suggère que le cocooning associé à la voix humaine, qu’il soit réalisé par la mère ou par une tierce personne, a un effet favorable sur le confort de l’enfant prématuré. [ABSTRACT FROM AUTHOR]

Copyright of Pouvoirs is the property of Editions du Seuil and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Alfa: Revista de Lingüística is the property of Alfa: Revista de Linguistica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The following paper gives us the opportunity to meet and pay tribute to François Jacquemot, French music therapist, co-founder and director of the European Music Therapy Institute in Metz and co-founder of Fédération française de musicothérapie (French Music Therapy Federation). Jacquemot passed away during the winter of 2007. Not only was he very much involved with the development of music therapy in France and internationally, he also influenced many generations of music therapists and practitioners in the fields of mental health and cognitive impairment. Here are two short texts written by Jacquemot. The first one, L'objet sonore (the sound object) explains his concept of psychomusical intervention by demonstrating influences of sound on an individual, starting at birth. The second text, La voix (the voice)…, is more of a reflection on the power of voice and song. A clinical example illustrates the impact of his voice on his own identity building. Although these texts are already 15 years old, they are still very relevant. They give us the opportunity to deepen our reflection on music, sound and voice. Jacquemot, this is how I would affectionately call him, had a deep and rich voice, a sparkling laugh, and a true sight… and though his writings, he is still with us! [ABSTRACT FROM AUTHOR]