Pour une conception historicisée et graduelle de la poéticité. L’interaction des dimensions sémantique, énonciative et iconique dans trois poèmes (Sponde, Follain, Bonnefoy)
Autor(a) principal: | |
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Data de Publicação: | 2013 |
Tipo de documento: | Artigo |
Idioma: | fra |
Título da fonte: | Linha D'Água (Online) |
Texto Completo: | https://www.revistas.usp.br/linhadagua/article/view/65403 |
Resumo: | We argue in this paper that poetic texts, as well as any other texts should be analysed through 3 perspectives: semantic, iconic and enunciative, each one with a positive pole and a negative one. According to the semantic perspective, poetic and scientific texts are both on the positive pole, because they create a new representation of the world. According to the iconic one, that Jakobson called the poetic function, poems are generally near the positive pole but their accurate position depends on formal characteristics which have changed along history. They share this position with texts such as advertisements, songs or nursery rhymes. According to enunciation, a lot of poetical texts belonging to lyrics stand on an average position between the 2 poles, since they do not show their literary origin and give themselves as ordinary utterances, but it is not the case for epics, which stands very near from the positive pole, such as novel and fictional texts. Defining 3 different perspectives and ranking texts from a positive to a negative pole for each of them allow to better appreciate the specificity of poetical texts among other texts but also to take into account the very important evolution of poetry along the centuries. After presenting our model, we make it work on 3 different poems: a baroque sonnet from Jean de Sponde, a free-verse poem from Jean Follain and a prose poem from Yves Bonnefoy. |
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Pour une conception historicisée et graduelle de la poéticité. L’interaction des dimensions sémantique, énonciative et iconique dans trois poèmes (Sponde, Follain, Bonnefoy)For a historical and gradual conception of poetry. The interaction of semantic, enunciative and iconic dimensions in three poems (Sponde, Follain, Bonnefoy)Pour une conception historicisée et graduelle de la poéticité. L’interaction des dimensions sémantique, énonciative et iconique dans trois poèmes (Sponde, Follain, Bonnefoy)poetrytextualityverse and prosedecontextualizationparallelspoesiatextualidadeverso e prosadecontextualizaçãoenunciaçãoiconicidadesemânticaWe argue in this paper that poetic texts, as well as any other texts should be analysed through 3 perspectives: semantic, iconic and enunciative, each one with a positive pole and a negative one. According to the semantic perspective, poetic and scientific texts are both on the positive pole, because they create a new representation of the world. According to the iconic one, that Jakobson called the poetic function, poems are generally near the positive pole but their accurate position depends on formal characteristics which have changed along history. They share this position with texts such as advertisements, songs or nursery rhymes. According to enunciation, a lot of poetical texts belonging to lyrics stand on an average position between the 2 poles, since they do not show their literary origin and give themselves as ordinary utterances, but it is not the case for epics, which stands very near from the positive pole, such as novel and fictional texts. Defining 3 different perspectives and ranking texts from a positive to a negative pole for each of them allow to better appreciate the specificity of poetical texts among other texts but also to take into account the very important evolution of poetry along the centuries. After presenting our model, we make it work on 3 different poems: a baroque sonnet from Jean de Sponde, a free-verse poem from Jean Follain and a prose poem from Yves Bonnefoy.Defendemos neste artigo que os textos poéticos, tais como outros textos, devem ser analisados conforme tres perspectivas : semântica, icónica e enunciativa, cada uma com um polo negativo e um polo positivo. Do ponto de vista semântico, tanto os textos poéticos como os científicos situam-se no polo positivo, pois criam uma nova representação do mundo. Do ponto de vista icónico – a chamada função poética de Jakobson –, os poemas estão geralmente perto do polo positivo, mas a sua posição exata depende de características formais que mudaram ao longo da história. Partilham esta posição com os textos publicitários ou as canções. Do ponto de vista enunciativo, muitos dos textos poéticos, de natureza lírica, ocupam uma posição média entre os dois polos, pois naõ mostram a sua origem literária e apresentam-se como discursos comuns. Tal não é o caso da epopeia, que está muito perto do polo positivo, assim como os romances e toda a fição. Definir os textos a partir de tres perspectivas diferentes, e propor uma classificação gradual desde um polo negativo até um polo positivo, permite apreender melhor a especificidade dos textos poéticos, e também tomar em conta a evolução muito importante que a poesia sofreu ao longo dos séculos. Depois de apresentar o nosso modelo, pomo-lo à prova da análise de tres poemas diferentes : um soneto barroco de Jean de Sponde, e dois poemas do século vinte, um dos quais em prosa.Nous soutenons dans cet article l’idée que les textes poétiques, comme les autres textes, devraient être analysés selon 3 perspectives: sémantique, iconique et énonciative, chacune possédant un pôle positif et un pôle négatif. Du point de vue sémantique, les textes poétiques et scientifiques sont tous deux sur le pôle positif, parce qu’ils créent une nouvelle représentation du monde. Du point de vue iconique, ce que Jakobson appelait la fonction poétique, les poèmes se situent généralement près du pôle positif mais leur position exacte dépend de caractéristiques formelles qui ont changé au fil du temps. Ils partagent cette position avec des textes tels que les publicités, les chansons et les comptines. Du point de vue énonciatif, beaucoup de textes poétiques appartenant au genre lyrique occupent une position moyenne entre les deux pôles, du fait qu’ils ne montrent pas leur nature littéraire et se donnent pour des énoncés de la vie ordinaire, mais il en va différemment pour l’épopée, qui se situe près du pôle positif, comme les romans et les autres textes fictionnels. En définissant 3 perspectives différentes et en situant chaque texte par rapport à un pôle négatif et un pôle positif, nous pouvons mieux apprécier la spécificité des textes poétiques au sein des autres textes, mais aussi prendre en compte l’évolution très forte de la poésie au fil des siècles. Après avoir présenté notre modèle, nous le mettons à l’épreuve de trois poèmes très différents les uns des autres : un sonnet baroque de Jean de Sponde, un poème en vers libres de Jean Follain et un poème en prose d’Yves Bonnefoy.Universidade de São Paulo. Faculdade de Filosofia, Letras e Ciências Humanas2013-12-16info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://www.revistas.usp.br/linhadagua/article/view/6540310.11606/issn.2236-4242.v26i2p109-133Linha D'Água; v. 26 n. 2 (2013): Análise de textos e discursos; 109-1332236-42420103-3638reponame:Linha D'Água (Online)instname:Universidade de São Paulo (USP)instacron:USPfrahttps://www.revistas.usp.br/linhadagua/article/view/65403/71550Copyright (c) 2013 Linha D'Águainfo:eu-repo/semantics/openAccessMonte, Michèle2022-03-25T13:46:56Zoai:revistas.usp.br:article/65403Revistahttp://www.revistas.usp.br/linhadaguaPUBhttp://www.revistas.usp.br/linhadagua/oai||ldagua@usp.br2236-42420103-3638opendoar:2023-09-13T12:17:44.189174Linha D'Água (Online) - Universidade de São Paulo (USP)false |
dc.title.none.fl_str_mv |
Pour une conception historicisée et graduelle de la poéticité. L’interaction des dimensions sémantique, énonciative et iconique dans trois poèmes (Sponde, Follain, Bonnefoy) For a historical and gradual conception of poetry. The interaction of semantic, enunciative and iconic dimensions in three poems (Sponde, Follain, Bonnefoy) Pour une conception historicisée et graduelle de la poéticité. L’interaction des dimensions sémantique, énonciative et iconique dans trois poèmes (Sponde, Follain, Bonnefoy) |
title |
Pour une conception historicisée et graduelle de la poéticité. L’interaction des dimensions sémantique, énonciative et iconique dans trois poèmes (Sponde, Follain, Bonnefoy) |
spellingShingle |
Pour une conception historicisée et graduelle de la poéticité. L’interaction des dimensions sémantique, énonciative et iconique dans trois poèmes (Sponde, Follain, Bonnefoy) Monte, Michèle poetry textuality verse and prose decontextualization parallels poesia textualidade verso e prosa decontextualização enunciação iconicidade semântica |
title_short |
Pour une conception historicisée et graduelle de la poéticité. L’interaction des dimensions sémantique, énonciative et iconique dans trois poèmes (Sponde, Follain, Bonnefoy) |
title_full |
Pour une conception historicisée et graduelle de la poéticité. L’interaction des dimensions sémantique, énonciative et iconique dans trois poèmes (Sponde, Follain, Bonnefoy) |
title_fullStr |
Pour une conception historicisée et graduelle de la poéticité. L’interaction des dimensions sémantique, énonciative et iconique dans trois poèmes (Sponde, Follain, Bonnefoy) |
title_full_unstemmed |
Pour une conception historicisée et graduelle de la poéticité. L’interaction des dimensions sémantique, énonciative et iconique dans trois poèmes (Sponde, Follain, Bonnefoy) |
title_sort |
Pour une conception historicisée et graduelle de la poéticité. L’interaction des dimensions sémantique, énonciative et iconique dans trois poèmes (Sponde, Follain, Bonnefoy) |
author |
Monte, Michèle |
author_facet |
Monte, Michèle |
author_role |
author |
dc.contributor.author.fl_str_mv |
Monte, Michèle |
dc.subject.por.fl_str_mv |
poetry textuality verse and prose decontextualization parallels poesia textualidade verso e prosa decontextualização enunciação iconicidade semântica |
topic |
poetry textuality verse and prose decontextualization parallels poesia textualidade verso e prosa decontextualização enunciação iconicidade semântica |
description |
We argue in this paper that poetic texts, as well as any other texts should be analysed through 3 perspectives: semantic, iconic and enunciative, each one with a positive pole and a negative one. According to the semantic perspective, poetic and scientific texts are both on the positive pole, because they create a new representation of the world. According to the iconic one, that Jakobson called the poetic function, poems are generally near the positive pole but their accurate position depends on formal characteristics which have changed along history. They share this position with texts such as advertisements, songs or nursery rhymes. According to enunciation, a lot of poetical texts belonging to lyrics stand on an average position between the 2 poles, since they do not show their literary origin and give themselves as ordinary utterances, but it is not the case for epics, which stands very near from the positive pole, such as novel and fictional texts. Defining 3 different perspectives and ranking texts from a positive to a negative pole for each of them allow to better appreciate the specificity of poetical texts among other texts but also to take into account the very important evolution of poetry along the centuries. After presenting our model, we make it work on 3 different poems: a baroque sonnet from Jean de Sponde, a free-verse poem from Jean Follain and a prose poem from Yves Bonnefoy. |
publishDate |
2013 |
dc.date.none.fl_str_mv |
2013-12-16 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://www.revistas.usp.br/linhadagua/article/view/65403 10.11606/issn.2236-4242.v26i2p109-133 |
url |
https://www.revistas.usp.br/linhadagua/article/view/65403 |
identifier_str_mv |
10.11606/issn.2236-4242.v26i2p109-133 |
dc.language.iso.fl_str_mv |
fra |
language |
fra |
dc.relation.none.fl_str_mv |
https://www.revistas.usp.br/linhadagua/article/view/65403/71550 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2013 Linha D'Água info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2013 Linha D'Água |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade de São Paulo. Faculdade de Filosofia, Letras e Ciências Humanas |
publisher.none.fl_str_mv |
Universidade de São Paulo. Faculdade de Filosofia, Letras e Ciências Humanas |
dc.source.none.fl_str_mv |
Linha D'Água; v. 26 n. 2 (2013): Análise de textos e discursos; 109-133 2236-4242 0103-3638 reponame:Linha D'Água (Online) instname:Universidade de São Paulo (USP) instacron:USP |
instname_str |
Universidade de São Paulo (USP) |
instacron_str |
USP |
institution |
USP |
reponame_str |
Linha D'Água (Online) |
collection |
Linha D'Água (Online) |
repository.name.fl_str_mv |
Linha D'Água (Online) - Universidade de São Paulo (USP) |
repository.mail.fl_str_mv |
||ldagua@usp.br |
_version_ |
1800221893616205824 |