Discourse and Text

This article discusses tense and aspect in the context of attested forms of discourse and text. The emphasis is on the semantic, pragmatic, textual, and stylistic functions of tense in context, taking into account linguistic features in the surrounding discourse, as well as the importance of factors such as medium (spoken or written), register (degree of formality), text type (literary vs. journalistic vs. conversational etc.), and discourse mode (narrative vs. report vs. description, etc.). Thus, tense and aspect are analyzed not purely as part of a linguistic “system” as such, but in the context of particular texts or forms of discourse. The article also explores the concept of “markedness” through two case studies: the narrative present and the narrative imperfect. Finally, it assesses the roles played by tenses in conveying particular points of view in texts, including shifts and/or ambiguities in point of view; Segmented Discourse Representation Theory; internal focalization and the French imperfective past tense; and textual polyphony.

Travelling Images, Images of Travel in Nicolas Bouvier's L'Usage du monde

Sketches and photographs are a familiar tool of the traveller-writer, who commonly draws on them when transforming experience into a textual narrative. The verbal thus displaces the visual — the latter retained, if at all, as mere illustration — in ways that echo James Heffernan's definition of ekphrasis as the ‘verbal description of visual representation’. Yet Nicolas Bouvier's 1963 travel narrative L'Usage du monde challenges conventional conceptions of ekphrasis. Juxtaposing the stark ink drawings of Thierry Vernet — Bouvier's travelling companion — with Bouvier's textual narrative, L'Usage du monde shifts representation away from a hierarchical relationship between verbal and visual; it offers instead an account of other cultures that is grounded in polyphony and exchange. This article applies Bouvier's own image of travel as a mosaic to the dual narrative form (or ‘iconotext’, to use Michael Nerlich's term) in order to consider a range of fluid relationships between Bouvier's text and Vernet's drawings. In examining these relationships of amplification, reduction, and absence, the article argues that the plurality of the narrative prompts a rethinking of conventional, binary paradigms of intercultural contact. Ultimately, the iconotextual nature of L'Usage du monde can be interpreted as a metaphor for the processes of cultural translation and transculturation that are central to Bouvier's travelling ethos.