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Le propos de cet article est d’étudier trois incipit de fantasy francophone issus des œuvres de Justine Niogret, Stefan Platteau et Jean-Philippe Jaworski en les envisageant plus spécifiquement dans une modalité de mouvement. Nous verrons que les univers de ces trois auteurs se dévoilent toutefois au lecteur en suivant des types de déplacement bien distincts, qu’il s’agisse d’une émergence progressive concernant Les Sentiers des astres de Platteau, d’une immersion tant géographique que psychologique dans « Mauvaise donne » de Jaworski, ou encore d’un brusque demi-tour savamment orchestré par Niogret dans Chien du heaume. Durant notre analyse, nous tâcherons aussi de porter une attention toute particulière à l’emploi des topoï dans ces incipit, tels que ceux du seuil, de l’éveil, du regard et de la violence dès l’orée du texte.

The paper introduces the concept of mnemopoetics, i.e., how songs are composed to be remembered, how they are shaped by oral memory as only the songs worth remembering were preserved by the community. After a brief discussion of ‘memory of the body’ (cf. Saussy 2016), the author introduces the formal mnemopoetic features (role of incipit, genre, rhythm, dialogue, incremental repetition, strophic arrangement, etc.). In the second part, he focuses on the semantic mnemopoetic role of incipit parallelism, which announces what will happen next in the song-story (cf. Andersen 1985; Marčok 1980; Bartmiński 2016). He then analyzes the first part of Jan Poláček’s song-collection from Moravian Slovakia (Slovácké pěsničky, 1936) and distinguishes nine main groups of songs with the incipit parallelism variously announcing: 1. erotic desire, 2. courtship, 3. longing for marriage, 4. an obstacle in the way of love, 5. a sinister omen leading to a bad outcome, 6. disappointment, 7. parting, 8. death; and 9. joyousness. For example, the image of ‘running water’ in the first verse suggests an unhappy development in the love affair portrayed by the song. The study further verifies the validity of six most prominent identified announcements on the broader material of František Sušil’s (1860) classical collection of Moravian folksongs. As suggested by fieldwork introduced in the study, traditional singers from Moravia and western Slovakia are typically aware of the ‘second’ meaning in songs, and this awareness of song symbolism helps singers — and readers — not only to remember songs better, but to do them justice when interpreting them. More broadly, the study represents a contribution to the methodological analysis of symbolism in traditional song lyrics.

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À l’instar des organisateurs d’un banquet qui offrent de bons apéritifs et desserts à leurs convives, les scripteurs des œuvres de fiction s’évertuent à rendre incitatifs l’incipit et la clausule. En recourant à une approche éclectique, cet article s’est efforcé de montrer les stratégies mises en œuvre pour susciter l’intérêt des consommateurs. La plupart des entames répondent aux questions principales : où, qui, quoi, comment. D’autres incipits ont eu l’air canularesques et avaient l’objectif de désorienter les lecteurs. Cette technique vise aussi les lecteurs soucieux des surprises. Des scripteurs éprouvent du plaisir à procéder par le clair-obscur. Quant aux clausules, elles ont aussi répondu à la règle générale de composition. D’autres ont décidé soit d’ouvrir l’œuvre au lieu de la fermer soit de désorienter les lecteurs. [ABSTRACT FROM AUTHOR]

The paper introduces the concept of mnemopoetics, i.e., how songs are composed to be remembered, how they are shaped by oral memory as only the songs worth remembering were preserved by the community. After a brief discussion of ‘memory of the body’ (cf. Saussy 2016), the author introduces the formal mnemopoetic features (role of incipit, genre, rhythm, dialogue, incremental repetition, strophic arrangement, etc.). In the second part, he focuses on the semantic mnemopoetic role of incipit parallelism, which announces what will happen next in the song-story (cf. Andersen 1985; Marčok 1980; Bartmiński 2016). He then analyzes the first part of Jan Poláček’s song-collection from Moravian Slovakia (Slovácké pěsničky, 1936) and distinguishes nine main groups of songs with the incipit parallelism variously announcing: 1. erotic desire, 2. courtship, 3. longing for marriage, 4. an obstacle in the way of love, 5. a sinister omen leading to a bad outcome, 6. disappointment, 7. parting, 8. death; and 9. joyousness. For example, the image of ‘running water’ in the first verse suggests an unhappy development in the love affair portrayed by the song. The study further verifies the validity of six most prominent identified announcements on the broader material of František Sušil’s (1860) classical collection of Moravian folksongs. As suggested by fieldwork introduced in the study, traditional singers from Moravia and western Slovakia are typically aware of the ‘second’ meaning in songs, and this awareness of song symbolism helps singers — and readers — not only to remember songs better, but to do them justice when interpreting them. More broadly, the study represents a contribution to the methodological analysis of symbolism in traditional song lyrics. [ABSTRACT FROM AUTHOR]

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There are now, in 2022, sixteen French translations of Jane Austen's Pride and Prejudice. The incipit includes one of the most famous statements in the English language, as well as a modal auxiliary, the rendering of which constitutes a minor challenge for any translator. This essay will analyse all translations of the incipit, relating translation choices to historical circumstances, the contemporary status of British literature and attitudes to the translation of fiction as well as to the state of the book market. [ABSTRACT FROM AUTHOR]

Copyright of French Language & Translation Research is the property of Ferdowsi University of Mashhad Press 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.)

L’incipit peut répondre à un amas de questions qui concernent les enjeux du jeu autobiographique dans un récit de vie. Il peut comprendre un pacte de données culturelles, où des lectures de l’autobiographe sont affichées. Ces données visent à retrouver l’orientation d’un écrivain vers l’écriture. Il est parfois basé sur des stratégies d’ambiguïté vis-à-vis d’un lecteur étonné face au flou. L’incipit, dans ce cas, fait voir une autobiographie basée sur un dialogue avec un double. Le présent travail se veut une lecture comparative de l’incipit de deux œuvres : Les mots de Jean-Paul Sartre et Enfance de Nathalie Sarraute.

The article is devoted to a lengthy incipit, here in the meaning of a copyist's addition preceding the main text, which constitutes the longest and most substantial later addition to Kalīla wa-Dimna. The incipit, it is argued, makes Kalīla wa-Dimna usable as an anthology of ethical and practical advice geared to a wide audience. The incipit evinces a scholastic structure, whose parts are analyzed and placed in relation to similar elements within the book's other prefaces and the introductions and conclusions of chapters, supported with charts and a synoptic edition of representative witnesses out of the twenty-seven manuscripts containing it. These can be identified as a structural group, cutting across other text-based groupings of the textual tradition of Kalīla wa-Dimna so far identified. The shared occurrence of the incipit in manuscripts whose main texts belong to different groups, or are idiosyncratic, suggests that copyists were combining multiple sources to produce their versions. This hypothesis is supported by the high degree of cross-copying in the main texts of the manuscripts bearing the incipit relative to other manuscripts. [ABSTRACT FROM AUTHOR]

Copyright of Anaquel de Estudios Árabes is the property of Universidad Complutense de Madrid 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.)

Questo articolo descrive brevemente la storia della pubblicazione di Terra matta, l'autobiografia di un lavoratore siciliano semiletterato, Vincenzo Rabito. Ci si focalizza poi sull'incipit di Terra matta, che illustra il background orale dello stile narrativo di Rabito.

Prendendo come esempio "Le Avventure letterarie di un giorno" di Pietro Borsieri, "Il romito di Sant'Ida" di Ludovico Di Breme, "Il viaggio e meravigliose avventure" di Francesco Contarini e il "Breve soggiorno in Milano di Battistino Barometro" di Silvio Pelico, l'articolo propone l'idea che i romanzi del gruppo del "Conciliatore" tendano ad iniziare in maniera brillante per poi fallire nel compimento del progetto iniziale. Come conseguenza della richiesta di scopi educativi dei Romantici, combinato con il loro timore dei valori della letteratura formale, gli inizi dei quattro romanzi cerca in modo doveroso di legittimare il ruolo dei loro autori e di stabilire i loro discorsi intorno ad un commentario auto-riflessivo. Nel loro progresso la narrativa deve confrontarsi con la complessità di queste premesse così che la loro tendenza al tono ironico e alla polemica contro l'erudizione, decade per dare piena espressione ad altri temi più significanti.

Questo saggio ha lo scopo di analizzare l'incipit letterario nelle opere poetiche di Fortini. Particolare attenzione sarà data a "è questo il sonno, edera nera, nostra", atto d'apertura della prima collezione di poesie "Foglio di via" (1946). Il valore paradigmatico del poema è invece ellittico, come mostrato nei riferimenti presenti dell'ultimo lavoro del poeta: al suo interno possono essere rintracciate poetiche differenti, maggiormente derivanti dal canone italiano.

Para el evangelio de Mateo, Jesucristo ha cumplido las Escrituras hasta en los más mínimos detalles. Por lo tanto, el texto es una mina para quien conoce el AT. En verdad todo el NT ofrece una relectura del Antiguo. Sin embargo, Mateo es más sistemático y más científico. Por ejemplo, el hace dialogar sin cesar el Antiguo con el Nuevo Testamento, como en el contrapunto de la música antigua. El autor del primer evangelio sigue un plan preciso en la composición de su evangelio, como ocurre con frecuencia en múltiples novelas de la literatura universal, en este caso, con escritos de Gabriel García Márquez.

A retórica, enquanto conceito relativo à forma, ao estilo, às estratégias criativas, esteve muito presente nos textos críticos e teóricos do Naturalismo: rejeitando, por um lado, a existência de uma retórica naturalista, pelo que isso poderia representar de imitação repetitiva; por outro lado, associando- -a depreciativamente ao Romantismo e aos seus cansados lugares-comuns. Os textos ficcionais não foram imunes a esta questão e, com frequência, ridicularizaram o que então consideravam configurar a velha “retórica romântica”. O objetivo deste artigo consiste na refl exão sobre a noção de retórica no contexto criativo do Naturalismo, dando uma particular atenção aos protocolos de abertura do texto narrativo

There are now, in 2022, sixteen French translations of Jane Austen’s Pride and Prejudice. The incipit includes one of the most famous statements in the English language, as well as a modal auxiliary, the rendering of which constitutes a minor challenge for any translator. This essay will analyse all translations of the incipit, relating translation choices to historical circumstances, the contemporary status of British literature and attitudes to the translation of fiction as well as to the state of the book market.

El siguiente artículo presenta un análisis de la mecánica textual del texto Muerte súbita (2013) de Álvaro Enrigue a partir de las nociones teóricas de María Amoretti (1984) acerca del íncipit y de algunos conceptos de Gerard Genette, respecto a la paratextualidad, en Umbrales (2001). De igual manera, este trabajo ofrece una lectura posible a partir de la semántica global del texto manifestada en el íncipit. Este es un trabajo de crítica literaria académica, que versa estrictamente en el análisis literario y sus implicaciones extratextuales a partir de los discursos representados en el texto.

O incipit como partida para um lugar, origem de um itinerário narrativo desconhecido, é uma fórmula privilegiada que os autores possuem não só como mecanismo de sedução, como artifício que dita as regras do universo da história, mas também como expressão do seu posicionamento face ao que irão contar. Tratando-se do romance histórico, o autor tem ainda a responsabilidade de situar temporalmente o leitor, optando quer por descrições, segmentos narrativos ou por iniciar a história em medias res, sempre de forma a não desconfortar o leitor. O incipit neste género pode também funcionar como índice da forma como o autor faz uso da História na ficção: “écran” ideológico, com o intuito de intervenção no presente, evasão e catarse, ou, ainda, reflexão e clarificação de um determinado período. Se estas categorias são válidas na análise do incipit das obras dos autores lusos e de alguns textos de Alencar, os romances históricos de teor indianista alencarianos exigem uma outra categoria – a da elaboração ficcional da História com intenções mítico-lendárias. Com alguns piscar de olhos aos romancistas portugueses, numa verdadeira lição de ironia romântica, Alencar faz da descrição incipitaria uma verdadeira instituição que concentra em si objetivos ligados à construção da narrativa identitária.

Copyright of Revista de Estudos Literários is the property of Imprensa da Universidade de Coimbra 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.)

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Les chercheurs s’évertuent de nos jours à montrer que l’incipit offre des idées sur ce que développe le roman, et qu’il invite ainsi aux relectures, pour en déceler les significations. Le début du roman La Carte et le territoire jouit d’une structure qui lui confère la qualité d’un lieu à la fois thématique et poétique, conditionnant tout le livre. Annonçant la complexité de la problématique envisagée par Houellebecq, les techniques de structure narrative et la nature du discours littéraire, il constitue un élément décisif dans le dialogue auteur-lecteur. Researchers nowadays tend to show to what extent the incipit gives hints of what will be developed further in the novels, and thus invites to reread them in order to find its possible meanings. The incipit of La Carte et le territoire has a structure that grants it both a thematic and poetic quality, determining the whole book. It gives a preview of the topic's complexity as conceived by Houellebecq, but also of the narrative structure techniques and of the literary speech's nature: this is why the incipit is a key element in the dialogue between author and reader.

Nel breve articolo vengono chiariti gli scopi della neonata rivista, sottolineandone il carattere di crescita che contraddistingue, in primis, il concetto di "Kepos": un vero e proprio giardino nel quale far crescere le nuove generazioni di ricercatori.

Copyright of Synergies Turquie is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) 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.)

In this paper we examine the way Simenon uses violent images of water in Long cours (1936). This exotic novel tells the wanderings of Joseph Mittel who leaves France with Germaine, wanted for murder. Through the analysis of the incipit and the passage about the first days of Mittel as a stoker on the boat of a smuggler we show that Simenon creates a network of references in order to elucidate the failure of the exotic experience of the main character. This allows us to reflect on Simenon's writing process as well. [ABSTRACT FROM AUTHOR]

It all starts with the analysis of three famous seduction scenes (Eve seduced by the serpent, Lady Anne by the future Richard III and the people of Rome by Mark Antony). This allows a detailed account of Sandrine Sorlin’s “principle of illusion”, in contradistinction with straightforward manipulation. This development involves an analysis, after Klemperer and Sternberger, of Hitler’s discursive charisma, and it ends in the formulation of three theories of seductive discourse, one dystopian (Barthes’s “linguistic fascism”), another neutral (derived from Althusser’s theory of interpellation) and the last utopian (the seduction of literary incipit, illustrated by the first page of Martin Chuzzlewit and the first sentence of Joyce’s The Dead).

Cet article s’intéresse, dans un corpus de romans et nouvelles en langue allemande s’ouvrant sur un énoncé généralisant, à la notion d’espace du texte. Pris dans sa matérialité, comme surface visuelle, le texte littéraire s’imprime en noir sur la page blanche. Pourtant, lorsqu’il commence par un énoncé généralisant, l'histoire proprement dite ne semble commencer qu’après, avec souvent des « débuts » caractéristiques d’un incipit, introduisant les éléments attendus dans la phase d’orientation-exposition (informations sur le lieu, le temps, un personnage, éventuellement plongée in medias res). L’analyse du début matériel du texte, i.e. des fonctions textuelles des énoncés généralisants dans le corpus, met en évidence que le récit commence avant l’histoire : ces débuts métatextuels mettent en jeu l’intersubjectivité entre le narrateur et le lecteur. Avec eux est investi le niveau de l’interaction entre le narrateur et le lecteur, ils assoient la prise de parole narrative. Au-delà, ils « mettent en scène » la corporalité du narrateur, la vocalité de son discours. Ces incipits illustrent donc le fait que la performance, i.e. la narration, est constitutive du récit de fiction.

Notre analyse se propose de montrer comment l’incipit d’Enfance représente un défi par rapport aux lois de l’autobiographie, mais aussi comment cette manière de trangresser les lois de ce genre est toujours hésitante, marquée par l’incertitude, incertitude qui se retrouve au niveau du texte par des éléments particuliers que nous nous proposons de mettre en évidence.

El íncipit de la novela El día señalado se abre con una cruz y dosfechas importantes en la vida del escritor y la historia política colombiana del siglo XX: 1936 y 1960. Vistos desde la sociocrítica, esos datos son altamente significativos y estratégicos, no solo como articuladores semióticos y textuales, sino también históricos.

Este estudio analiza “Lucía o las palomas desaparecidas” de Evelio José Rosero Diago, en relación a su novela Los ejércitos (2007). Se hace una comparación entre los íncipits (inicios) y excipits (finales) de ambos textos con el fin de mostrar la propuesta poético estructural que les subyace, y que contribuye a cifrar la novelística de Rosero desde una práctica estética de la desaparición y la perplejidad.

Статья посвящена специфически английскому жанру In nomine и особенностям его трактовки в творчестве одного из ведущих композиторов английского музыкального Возрождения Кристофера Тая. На материале In nomines Тая, рассматриваемых в русле магистральных поисков XVI века, отмечаются некоторые характерные композиционно-стилистические черты пьес данного жанра и особенности его функционирования.

Con este artículo se prentende difundir el catálogo de la obra de Rafael Barco Molina (Fuente Victoria, 1903- Almería, 1995), compositor, profesor, director, y sobre todo la cuna musical almeriense de la postguerra, conocido en Almería como el maestro Barco, obras que pertenecen al patrimonio musical de Almería y que hasta el momento han permanecido refugiadas, en su mayor parte, en archivos privados (familia, amigos y discípulos) y/o instituciones de ámbito privado (hermandades y SGAE) y en muy pocos casos, en instituciones públicas como es el caso de la Biblioteca Nacional de España, en la que se encuentran seis de los títulos que forma la obra musical de este compositor y el archivo de la Banda Municipal de Almería.

Lexical Forms of Song’s Incipits in Belarusian Wedding Cycle: Semantics, Structural Transformations (an Example of One Type of Texts) In the context of the study on dynamic typology and dialectal features of Belarusian folk songs, the paradigm of texts relating to the episode when the Bride parts with her parents is considered here. Such texts have the same lexical and poetic basis; are characterized by common type of incipit in different variants. All of these texts depict an dramatic for the Bride moment of “intrusion” into her backyard “an alien” family – the Groom’s family. Different versions of this incipit have been noticed within the large territory of Belarus and on the frontier (Latvia, Poland). Structural transformations of this type of incipits are manifested by reduction or, quite the opposite, by adding (affixation) syllables in verses. It is conditioned by non-verbal semantics expressed through vocalic rhythmic – the superiority of recitation elements or motor and somatic dynamics. Expansion of an incipit verses by adding to the initial word its rhymed synonym is also a typical phenomena. Diachrony of a given paradigm texts is also revealed by comparing the texts related thematically to the wedding moment mentioned above. A large number of these texts are abridged versions (a middle and a final part) of full texts of paradigm in question. A song in the abbreviated version begins with the culminative part and omits the metaphorical and descriptive initial part (such transformations can be observed in the periphery districts of a radical area). Accordingly, in such a case a different stanza fulfills the incipit function. The method of dynamic typology is applied while analyzing various texts that belong strictly to the same syllabic and rhythmic paradigm. It is a promising approach to study on linguo-musical dialects and diachronic changes in folk song language. Leksyka incipitów białoruskich pieśni weselnych: semantyka, transformacje strukturalne (na przykładzie jednej grupy tekstów) W kontekście badań typologii dynamicznej oraz cech dialektalnych białoruskiej pieśni ludowej rozpatrujemy paradygmat tekstów dotyczących epizodu rozstawania się panny młodej z rodzicami. Są to teksty o tym samym podłożu leksykalno-poetyckim, które charakteryzuje wspólny typ incipitu w różnych jego wariantach. Wszystkie one symbolizują dramatyczny dla panny młodej moment „wtargnięcia” na jej podwórko „obcego” rodu – rodu narzeczonego. Metafora ta zawarta jest w formule incipitu. Warianty formuły zanotowano na znacznym obszarze Białorusi oraz na terenach przygranicznych (Łotwa, Polska). Transformacje strukturalne tego typu incipitów polegają na redukcji lub rozrastaniu (afiksacji) składu sylabowego wersolinii. Wszystko to jest uwarunkowane semantyką pozawerbalną, wyrażoną przez rytmikę wokaliczną – z przewagą albo elementów deklamacyjności, albo dynamiki motoryczno-somatycznej. Charakterystyczne jest również poszerzenie wersu incipitu za pomocą dodawania do początkowego wyrazu synonimu rymowanego. Diachronia tekstów danego paradygmatu ujawnia się także przy zestawieniu tekstów tematycznie związanych z tymże epizodem wesela. Spora liczba tych tekstów przedstawia wersję skróconą – środkowy i końcowy fragmenty – tekstu pierwotnego danej grupy. Pieśń w wersji skróconej rozpoczyna się od punktu kulminacyjnego, z pominięciem metaforyczno-narracyjnej części wstępnej. Odpowiednio rolę incipitu pełni tu inna strofa. Teksty w wersji skróconej lokalizują się na peryferiach areału. Metodę dynamicznej typologii pieśni stosujemy do opisu tekstów różnych gatunków, o różnej tematyce, jednak należących ściśle do tego samego paradygmatu sylabo-ryt­micznego. Otwiera to nowe perspektywy w badaniach dialektów lingwo-muzycznych oraz zmian diachronicznych w języku pieśni ludowej.

El trabajo ofrece la lectura de un libro poco abordado por la crítica: L’Enfer de Dante (1991), del poeta francés de origen judío Edmond Jabès (1912-1991). Por un lado, nos proponemos rastrear varios ecos del Infierno dantesco a través del escrito de Jabès, destacando su presencia en un lugar particularmente innovador para el intertexto: el número de páginas, elemento del libro-objeto. Por otro lado, a partir del análisis del íncipit, planteamos la especularidad como figura de construcción del texto, pasando después a la indagación acerca de la visión jabesiana sobre el infierno como lugar cerrado del sufrimiento, individualizado en Auschwitz.