La rue Verneuil, vous connaissez? Trop de bruit dans le voisinage du Temple 3e arrt de Paris! Celle-ci y logeait quelques chevaux et fiacres. En attendant le carnaval de Paris sur la Place A. Quel tintamarre! Les enfants sont heureux et les parents aussi….
Que de belles couleurs et de beaux sourires :. Une boule-aux-Rats? Retrouvez une partie de cet article sur notre site en anglais. Vous retrouverez un article encore plus complet avec davantage de photos sur notre site [en anglais]. Le Saviez-Vous?
- Manual De retour chez soi (French Edition);
- Vous êtes un particulier ??
- Returning to Reims by Didier Eribon.
- To Be or Wanna Be.
- Conni & Co 7: Conni, Phillip und das Supermädchen (German Edition).
- The Bikers Wench (Fantasy Ranch Book 1)?
En revanche, la Saint-Nicolas dans la ville voisine de Metz est maintenue. Le lundi matin, le monument a rouvert ses portes aux visiteurs. Les gens prenaient des photos et des selfies en famille ou entre amis. Vive Paris! Les ossements des Catacombes de Paris. Ambiance frisson garantie! Retrouvez plus de photos et cet article en anglais sur notre site web! De nombreux fans ont attendu cette nouvelle B. Elle lui donnera six enfants. In such a way, Cadiot foregrounds the notion of prescriptive grammar, where linguistic textbooks operate as symbols and tools that feed into a broader linguistic ideology of a standard, national language.
It functions as a tool that serves to regulate language, insisting on conformity to a standard elaborated by, and associated with, a dominant socio-political group. Having foregrounded the territorializing nature of prescriptive grammar, Cadiot then initiates a process of deterritorialization, rendering the grammar book cut-ups agrammatical in their novel arrangement in the text. The reader is impeded by the strange syntax of the transplanted cut-ups, compounded by the lack of coherent narrative, the unclear relationship between one constituent of the passage and the next, the suspension of reference and the subversion of traditional lyric voice.
This discontinuity, which is rhythmic, syntactic and typographical, creates an elliptical effect: the reader is involved in a continuous process of attempting to construct meaning or significance in the combination of cut-up words and phrases. Indeed, however paratactic or fragmented the passage above may be, the reader can decipher the bare bones of a narrative: a journey, a voyage at sea, a sudden explosion, an unnamed character who reflects on his youthful adventures and so on.
Often, the otherwise flat or affectless phrases of the textbook examples are combined in such a way as to hint at more profound significations. The very fact that the cut-ups are relocated to the literary space of the poem multiplies the possible interpretations of the words in the passage; the reader brings to the text their expectations about the operation of poetic language, with its propensity for metaphor, self-reflexivity or semantic density.
A number of literary and non-literary resonances appear, with idiosyncratic configurations for each reader, but, significantly, where possible resonances arise, they never evolve into anything more than a hint or glimmer of possible signification. No authoritative, comprehensive meaning is sustained over more than a handful of phrases, and the text continuously resists interpretation, just as quickly as it invites it.
The omnipresence of grammar book phrases, which operate as mere illustrative examples with little communicative force, serves to continually disrupt the quest for meaning in the text, and compels the reader to focus on the formal properties of the words in front of them, on the signifiers not the signifieds. Secondly, the normative reading process is destabilized, rendered foreign and strange as the text oscillates between provoking and resisting interpretation.
This displacement involves a re-examination of the source information, for instance the ideologies and assumptions about language that lie behind the linguistic reference works. In these instances, there is a similar questioning of the implicit assumptions that lie behind discourses of knowledge and pedagogical systems based on absolute truths, as well as an examination of the conventions of representation within sciences and other such disciplines. Such a gesture is significant, perhaps all the more so in the French tradition, where the nation-state, its language and its literary canon have historically been so closely intertwined.
The albums present heteroglottic collages that assemble speech, ambient noise, sound effects and music. Given its geographical situation, Alsace witnessed the struggle between different major national languages, principally German and French, as well as the resistance of local dialects and regional languages to superimposed national ones. Indeed, as alluded to above, the relationship between the French state, standard French and regional languages has historically been a divisive and political issue, with the debate continuing to this day.
The phonological variants of their regional accents represent a very tangible expression of the variation that Deleuze and Guattari suggest a minor use of language will carve into the major language Mille plateaux Translation, in and out of different languages and dialects, is central to the project Cadiot and Burger pursued in Welche. In this respect, the heteroglossia or polyphony of Welche is not merely the juxtaposition of different linguistic forms, but precisely the interaction or meeting point between them. The recordings of Welche speakers, while sometimes presenting entire phrases, are often cut short, segmented into phonemes and syllables, beginnings of words and ends of phrases.
These segmented samples are then superimposed on one another and transformed into auditory collages with a musical accompaniment guitar, drumming, voice and so on. Reminiscent of earlier Dada performances, which Cadiot and Burger evoke directly in their work, Welche experiments with the limits of sense, extracting from language its constitutional rhythms, tones and timbres.
As the linguistic becomes non-linguistic, language extends to its limits, is deterritorialized and transformed into pure music. In this respect, there is an ambiguity in the cutting up and splicing of the Welche recordings — on the one hand, it is clearly an experimental, poetic gesture, aesthetically and formally motivated. On the other hand, there is a certain violence behind the act of deforming the recordings, rendering them incomprehensible; in a project concerned with a language in danger of extinction, we might expect the focus to be conversely on the preservation of such recordings.
What is lacking from their account is a consideration of how minority languages might differ from the subversive language of minor literature, a distinction which, due to the different socio-political stakes, appears important. Alongside recordings of interviews with Welche speakers, a number of features of traditional Welche culture are woven into the musical fabric of the album.
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The ritournelle of the Welche song, with its repeated grammatical refrain, is reinforced by the visual images of the clip: the rotating steps of a waltz, a model bed spinning on a trapeze and a dancer twirling fabrics into circles. It offers, therefore, new lines of flight that move outside of the familiar, repeating, but repeating differently with each variation. The clip wavers continuously between the familiar and the unfamiliar, the recognizable and the strange. The montage of images has a disorientating effect: we are left trying to configure sense from their juxtaposition, and to establish their relationship with the words of the song.
The image is territorializing in its presentation of a familiar, household object, and in the hypnotic gyrations of the bed spinning on an invisible string. However, this familiarity is quickly subverted by the fact that the bed is a model, a miniature variation, markedly different from the original. If poetry no longer has to be written or sensical or linguistic, if it can be composed from cut-up dictionary entries or segmented audio recordings, then what, after all, is poetry?
This question has preoccupied poets across the twentieth century, and Cadiot is hardly the first to consider them. The pervasive references to Dada on the album Psychopharmaka pay homage to the experimental performance poetry of his predecessors, which, in radically redefining the parameters of poetic form and language, left a lineage of poetic practice characterized by the questioning of its very boundaries.
This experimental, self-questioning reflex has resulted in a displaced, stateless quality that, I would argue, defines poetry in the contemporary period. He writes:. A noir As Gleize points out, since the nineteenth century, poetry has been a locus for experimentation, wherein the conventions and norms of the genre are systematically dismantled and revised. In such a way, contemporary poetry acquires a stateless quality, in both its deterritorializing language and its unstable generic status; it inhabits a nomadic space, constantly constructed in relation to a state that it is not, and to a territory that it has moved beyond.
His book Poetic Becomings: Studies in Contemporary French Literature represents the only book-length exploration of contemporary French poetry through a Deleuzo-Guattarian lens. A rhizome, examples of which can be found in include grasses, ginger and other common plants, has no beginning or end, and no pivot or centre; each point must be connected to any other, and upon rupture, the plant will start up again and proliferate laterally.
Ager, Dennis Ernest. Sociolinguistics and Contemporary French. Cambridge: Cambridge University Press, Alferi, Pierre. Burger, Rodolphe and Olivier Cadiot. Cadiot, Olivier. Fairy queen.
Sophia de Mello Breyner Andresen - Regressarei lyrics + French translation
Paris: P. Futur, ancien, fugitif. Le Colonel des Zouaves.
Un nid pour quoi faire. Deleuze, Gilles. Critique et clinique. Paris: Minuit,