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Tomus 11 Fasciculus 1 • 2009

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Dialogue/Monologue, Diálogo/Monólogo, Dialogo/Monologo

La thématique proposée pour l'actuel numéro de Verbum invite nos lecteurs à suivre des idées de nos auteurs sur le dialogue et le monologue aux sens philosophique, métaphorique, ainsi que générique des deux termes, deux formes essentielles à portée pluridisciplinaire, mais étroitement liés toujours à la communication humaine.
   D'après les définitions des dictionnaires, le dialogue est une communication entre deux ou plusieurs personnes ou groupes de personnes visant à produire un accord. Il doit y avoir au minimum un émetteur et un récepteur et une donnée émise : le message.
   L'origine étymologique grecque du mot se réfère à un concept voulant dire « suivre une pensée » ce qui n'explique pas forcément la façon de la comprendre. À moins que pour vouloir prendre connaissance de l'esprit de l'autre il suffise de suivre pour saisir.
   Martin Buber, le philosophe par excellence du dialogue, le comprend comme un moyen d'entrer en communication plutôt qu'une tentative de rechercher une conclusion ou d'exprimer des points de vue. En philosophie, dialoguer c'est penser à deux. Le dialogue repose ainsi sur la réciprocité et la responsabilité, laquelle existe uniquement là où il y a une réponse réelle à la voix humaine.
   Le monologue également désigne une conversation qu'une personne tient mais cette fois avec elle-même. Le monologue c'est le fait de parler tout seul. C'est un terme de théâtre aussi qui désigne une scène où un personnage parle seul. Cependant, la notion du monologue, voire, le verbe monologuer s'emploient dans une situation où quelqu'un parle seul devant d'autres personnes qui n'interviennent pas.
   Le monologue proprement dit est en effet un dialogue fictif : un personnage, seul sur la scène, se parle à lui-même, interpelle un personnage absent, Dieu, un objet ou un sentiment pour exprimer ses tourments ou son dilemme. Le monologue s'adresse aussi aux spectateurs et aux auditeurs qui peuvent connaître ainsi les pensées et les sentiments d'un personnage. Si le monologue évoque directement la parole prononcée, le monologue intérieur est une technique de narration littéraire, grâce auquel l'écrivain est capable de faire suivre les réflexions de ses personnages.
   A lire les présents articles dont les auteurs interpellent disciplines, époques et œuvres, nos lecteurs auront effectivement la possibilité de suivre philosophes, critiques, écrivains et dramaturges dans leurs vols spirituels et ils se réjouiront d'entrer en dialogue avec eux.

Anikó Ádám
Rédactrice en chef

Tomus 11 Fasciculus 1 • Junius 2009

  • La dialogicité de l'herméneutique philosophique
    Author Olay, Csaba
    Issue Vol. XI/2009/1
    Category Artes
    DOI 10.1556/Verb.11.2009.1.1
    Pages pp. 7-13
    Keywords Hans-Georg Gadamer, dialogue, text, hermeneutics, philosophy
    Abstract The paper investigates Hans-Georg Gadamer's dialogical theory of interpretation within the context of his philosophical hermeneutics. In analyzing the dialogical character of understanding, he elaborates the openness required in order that the possibly true opinion of the texts to be understood can be effective. The study also delineates the moral dimension of Gadamer's analysis that is implicit in the interpretation as the recognition of the other.
  • Le soulier de Satin de Paul Claudel vu par les théâtrants slovaco-tchèques
    Author Šimková, Soňa
    Issue Vol. XI/2009/1
    Category Artes
    DOI 10.1556/Verb.11.2009.1.2
    Pages pp. 15-27
    Keywords water, Soulier de Satin, Paul Claudel, Roman Polák, Prague, theatre
    Abstract In this paper I consider two essays published in Revue d'Histoire du Théâtre in 2000 dealing with the subject of water in theatre and in the work of Paul Claudel. In particular, I am focusing on the staging of Claudel's Soulier de Satin performed by the National Theatre in Prague in 1993 by a Slovak theatre team headed by director Roman Polák. I am considering his work within the context of one of his most appreciated productions of the last decade, Marivaux's play La Dispute (1988). In this production Polák used real water. By using water on stage he initiated a choice of specific theatricality. For his production, Roman Polák employed Jean-Louis Barrault's adaptation of Claudel's play, but he did not accept his way of theatricality. Instead of watermimed and danced by a choir of ballet, Polák worked with real water on stage. This paper tries to search answers to these questions: what was the reason for such a choice, and why where such solutions part of contemporary theatre aesthetics?
  • Anagogicis... excessibus: a philological addendum on the religious phenemonology of Frans Titelmans
    Author Andersson, Daniel Christopher
    Issue Vol. XI/2009/1
    Category Artes
    DOI 10.1556/Verb.11.2009.1.3
    Pages pp. 29-32
    Keywords Titelmans, Bonaventure, anagogy, Franciscan, philopsophy
    Abstract The usage of the term anagogicis excessibus in the Low Countries philosopher Frans Titlemans' 1530 compend of natural philosophy Libri duodecim de consyderatione rerum naturalium shows a strongly religious underpinning to his scientific thought. It is the purpose of this article to draw attention to the phrase, and to prove the Bonaventuran religious background in scriptural hermeneutics. This detail points to an important aspect of the Franciscan natural philosophical tradition.
  • Unter uns gesagt Textstruktur und Gesprächsführung in Roman Flamenca
    Author Majorossy, Imre Gábor
    Issue Vol. XI/2009/1
    Category Filologia
    DOI 10.1556/Verb.11.2009.1.4
    Pages pp. 35-61
    Keywords Flamenca, fin'amors, Occitan novel, jealousy, biblical references
    Abstract This paper deals with one of the medieval Occitan novels and mainly with its dialogues. The popular love story of Flamenca and Guillem is shattered by the jealousy of Archambaut. As part of a major work, this paper shows how complex dialogues define the plot along the conflicts and lead persons to their next measures. Besides the analysis of the most famous dialogue, which was organised in the church, new aspects of other dialogues will be unveiled. The queen acts as the Bible's serpent, the young husband as a beast, the young woman as a fairy queen, the unknown lover as a priest, etc. They all begin to talk to each other, but nobody communicates what they really mean.
  • Sur les "expressions macaroniques" de la critique d'art de Théophile Gautier (dialogue entre peinture et littérature)
    Author Benda, Mihály
    Issue Vol. XI/2009/1
    Category Filologia
    DOI 10.1556/Verb.11.2009.1.5
    Pages pp. 63-86
    Keywords Théophile Gautier, art critic, ut pictura poesis, language, visual
    Abstract Théophile Gautier used the arts as major references in his writings. This paper brings to light which artistic values are handled by his critical reviews and for what purpose. We will reassess the notion of transposition d'art, and highlight the differences between works of art and poems.
  • Entre le journal intime et le monologue corporel - Splendid Hôtel de Marie Redonnet
    Author Kotowska, Katarzyna
    Issue Vol. XI/2009/1
    Category Filologia
    DOI 10.1556/Verb.11.2009.1.6
    Pages pp. 87-95
    Keywords Marie Redonnet, Splenid Hôtel, corporeal monologue, diary, female writing
    Abstract The narrative structure in Marie Redonnet's novel Splendid Hôtel (Splendid Hotel) is ambiguous. It has the characteristic features of the literary genre, diary (journal intime). In the novel, the Narrator - a woman with indefinite name and age - reports all prominent measures she has undertaken while she was running a hotel, a property she had inherited from her grandmother. She tries to cope with different kinds of pests (flies, mosquitoes, rats, bedbugs, spiders, termites), workers (carpenters, cabinetmakers, thatchers, plumbers) and their bills, and guests (prospectors, geologists, team foremen, engineers). She also copes with two spoiled and irritating sisters: sickly Ada and a would-be actress - Adel. Redonnet makes a skillful use of metaphoric possibilities. Splendid Hôtel remains a female body, and the body seems to be the actual author of monologue. That is why the monologue can be called 'corporeal'.
  • Les silences du dialogue romanesque dans Moderato Cantabile de Marguerite Duras
    Author Timenova-Valtcheva, Zlatka
    Issue Vol. XI/2009/1
    Category Filologia
    DOI 10.1556/Verb.11.2009.1.7
    Pages pp. 97-110
    Keywords absence, silence, writing, dialogue, Marguerite Duras
    Abstract This paper deals with the silences of dialogue in Moderato Cantabile by Marguerite Duras. The starting hypothesis is that silence is a phenomenon of constructive and significant absence which could justify a choice of writing. The concrete question which we would like to analyze is how fictional dialogue creates meaningful silences.
  • Reescritura y diálogo espaciotemporal en Un revólver para Mack de Pablo Urbányi
    Author Horváth Faller, Eija
    Issue Vol. XI/2009/1
    Category Filologia
    DOI 10.1556/Verb.11.2009.1.8
    Pages pp. 111-125
    Keywords Latin-American literature, interculturality, translation, adaptation, reception
    Abstract Re-writing a literary work in another language is not a simple translation task, but rather an adaptation process, the work needs to be able to find its room in the universe of the host literature. A fundamental question of this process is the following: to what extent can the re-written literary text provide its readers with new forms of representation? This paper presents an intercultural progress that spans between the 1970s of Argentina and the 1990s of Canada. Pablo Urbányi, the Argentinean writer of Hungarian descent, who emigrated twice in his life, re-wrote his novel Un revolver para Mack before the new edition of the book originally published in Buenos Aires in 1974 - in order to help the work of his French translator. The comparison of how the original and the revised text anticipates the involvement of the readers in the process of reception reveals the differences between two - distant and probably incompatible - horizons of expectations.
  • Analisi contrastiva delle costruzioni infinitive introdotte da un determinante in italiano e in spagnolo
    Author Szilágyi, Imre
    Issue Vol. XI/2009/1
    Category Linguistica
    DOI 10.1556/Verb.11.2009.1.9
    Pages pp. 129-152
    Keywords nominal and verbal features, mixed construction, expression of the subject, control
    Abstract The present study aims at drawing a comparison between the 'article + infinitive' constructions in Italian and Spanish. The comparative analysis will tackle both structural questions and the use of these constructions in the two languages. It will be argued that in spite of the extensive similarity of the infinitive preceded by an article (or any other determiner) in Italian and Spanish there are some important divergences that should be noted, too: Italian displays three, Spanish only two subtypes of the basic pattern. Our contrastive analysis allows us to make some more general observations concerning the syntax of Italian and Spanish, in particular with regards to the expression of the subject.
  • Phrases figées illocutoires: quelle interprétation sémantique?
    Author Náray-Szabó, Márton
    Issue Vol. XI/2009/1
    Category Linguistica
    DOI 10.1556/Verb.11.2009.1.10
    Pages pp. 153-165
    Keywords idiomaticity, illocutionary act, bound utterance, morphological constraint, French
    Abstract Bound utterances like A votre santé!; Tu vois!; Ça va! are frequent reactions to more or less well-defined speech situations. Many of them bear idiomatic properties, even though linguists sometimes do not regard them as such. We first give an account on discourse acts from a lexicalist point of view, that is, in terms of argument structure. After that, we provide a full analysis on illocutionary frozen sentences based on the notion of illocutionary predicate. Parting from these theoretical considerations, we discuss the results of an investigation carried out on some 200 French expressions. Examined features are morphological, lexical and syntactical constraints. As a result, evidence is shown that idiomaticity in these utterances has properties that no other types possess.
  • I giovani e la comunicazione mediata dal computer: osservazioni linguistiche su nuove forme di alfabetizzazione
    Author Gheno, Vera
    Issue Vol. XI/2009/1
    Category Linguistica
    DOI 10.1556/Verb.11.2009.1.11
    Pages pp. 167-187
    Keywords sociolinguistics, juvenile language, computer-mediated communication, computermediated knowledge, Italian
    Abstract This paper first presents some facts about the cultural background of young Italian people, showing subsequently a selection of the well-established characters of spoken and written juvenile Italian. Then it moves over to discuss the technological situation of Italy, also presenting a choice of widely recognized peculiarities of the language of Italian Computer-Mediated Communication (CMC) and showing that many of them are linked to a juvenile linguistic background. The paper then discusses the influence that computers and computermediated knowledge might have on the juvenile cultural world, presenting also some opinions about these two types of language (juvenile language and CMC), considered by some as marginal or even dangerous for the "integrity" of the Italian language. Regarding this issue, the author states - recalling a well-established scientific tradition - that the mostmature behavior would be to consider every variety of Italian - even the humblest - as equally relevant and linguistically interesting, although it is pivotal to use it in the right way and in the correct context.
  • Las formas del diálogo y del monólogo en las leyendas de Gustavo Adolfo Bécquer análisis de tres leyendas elegidas
    Author Menaker, Angelika
    Issue Vol. XI/2009/1
    Category Iuvenilia
    DOI 10.1556/Verb.11.2009.1.12
    Pages pp. 191-202
    Keywords Gustavo Adolfo Bécquer, monologue, dialogue, legends, Spanish romanticism
    Abstract The topic of the present paper is based on the literary works of Gustavo Adolfo Bécquer, one of the most excellent authors of Spanish romanticism. He raised the literary genre legend to a very high aesthetic level. In his romantic tales (Leyendas), dialogues play a particular role. In this paper, I will analyse, characterise, classify and compare these dialogues. Focus will be laid on how monologues and dialogues are interwoven and mixed in these interesting and exciting stories.
  • La parole solitaire "conventionnelle" de Bernard-Marie Koltès
    Author Miklós, Eszter Gerda
    Issue Vol. XI/2009/1
    Category Iuvenilia
    DOI 10.1556/Verb.11.2009.1.13
    Pages pp. 203-214
    Keywords monologue, soliloquy, Bernard-Marie Koltès, solitude, theatre play
    Abstract Monologues are considered to be key aspects of Koltès' plays. This paper aims to present themonologues and the triple-soliloquy in Le retour au désert (The Return to the Desert) (1988), which is a play less often analysed from this point of view. Anne Ubersfeld regards these monologues as too conventional compared to the forty-seven-page long soliloquy of La Nuit juste avant les forêts (The Night Just before the Forests) (1977) and the quasi-monologues of Quai Ouest (Quay West) (1985) and Roberto Zucco (1988).
  • Les variants informels de très
    Author Holló, Zsuzsanna
    Issue Vol. XI/2009/1
    Category Iuvenilia
    DOI 10.1556/Verb.11.2009.1.14
    Pages pp. 215-225
    Keywords adverbs of degree, collocation, synonyms, semantic association, syntax
    Abstract The aim of this paper is to analyse the adjectival collocations of French adverbs of degree synonymous with très 'very' and typical of what is referred to as "familiar style". While a number of studies were written on English adjective–adverb co-occurrences, French researches fall short of them. Our examples are retrieved fromliterary fiction covering the 20th century, using the Frantext database. After finding thirteen synonymous adverbs of degree on the basis of different dictionaries, we examine their collocational behaviour occurring in recurrent combinations. We include the types and the tokens of their adjectival collocatives and we show thatmost of themtend to be associated with general, positive adjectives. Mutual information (MI) measure has found the most frequently occurring collocations among the synonymous combinations. We also show that the collocations appear in diverse syntactic structures.
  • Recensiones
    Authors Gecse, Mária Veronika
    László, Tímea
    Pálková, Jana
    Wildburg, Gabriella
    Issue Vol. XI/2009/1
    Category Recensiones
    DOI 10.1556/Verb.10.2009.1.15
    Pages pp. 229-237
    Reviews Fabio Romanini: "Se fussero più ordinate e meglio scritte..." Giovanni Battista Ramusio correttore ed editore delle Navigationi et viaggi. Viella, Roma, 2007, 308 pp. (Wildburg Gabriella)

    Marie Voždová & Jiří Špička: Francouzská a italská dramatická tvorba na moravských a slezsk'ych divadelních scénách [La drammaturgia francese e italiana sulle scene della Moravia e della Slesia]. Università Palacký, Olomouc, 2007, 599 pp. (Jana Pálková)

    Renzo Titone: Esperienze di educazione plurilingue e interculturale in vari paesi del mondo. Guerra, Perugia, 2000, 143 pp. (Gecse Mária Veronika)

    Márton Náray-Szabó : Francia magyar beszédfordulatok. 1200 kifejezés a mindennapi társalgás nyelvéből [Énoncés liés franco-hongroises. 1200 expressions de la conversation quotidienne]. Tinta, Budapest, 2009, 231 pp. (László Tímea)