Relecture jakobsonienne de la distinction saussurienne langue/parole. De la constitution d'un concept à l'acceptation d'un objet donné

The Roman Jakobson’s criticism of the Saussurean langue/parole distinction, in his La théorie saussurienne en retrospection, is based on the acceptance of a given object in Bachelard’s sense: the language (langage) as a complex unity which we only have to analyze. It contains no theorization of langue as a norm. On the contrary, the Saussurean langue/parole distinction is at the same time epistemological and theoretical: It amounts to delimiting an object in the whole language (langage) and to theorizing the dimension of communication which is inherent to human language. Thus, the Saussurean distinction appears to be at the foundation of the theorization of langue, which founds linguistics, but whose necessity is dissimulated, in a linguistic theory like Jakobson’s, by the language(langage) as a given object and the langue/parole problematics following from it.

Teaching practice recommendations: prevention and screening

The aim of this article is to provide guidance to family doctors on how to tutor students about effective screening and primary prevention. Family doctors know their patients and adapt national and international guidelines to their specific context, risk profile, sex and age as well as to the prevalence of the disorders under consideration. Three cases are presented to illustrate guideline use according to the level of evidence (for a 19-year-old man, a 60-year-old woman, and an 80-year-old man). A particular strength of family medicine is that doctors see their patients over the years. Thus they can progressively go through the various prevention strategies, screening, counselling and immunisation, accompanying their patients with precious advice for their health throughout their lifetime.

La harpe irlandaise. Les arts dans La Parole errante

La Parole errante, l’œuvre nodale d’Armand Gatti, «œuvre-monde» au sens de F. Moretti, s’inscrit dans l’épique moderne et constitue une épopée, lacunaire et discontinue, de l’art du XXe siècle, tout en évoquant les projets cinématographiques et théâtraux qu’a menés Gatti tout autour de la terre. Dans les deux cas, l’art est vu comme vie. Les évocations des avant-gardes ne reprennent pas le récit qu’elles se sont donné d’elles-mêmes en soulignant leurs ruptures. Inscrites dans une poétique générale de choralité, elles interviennent avec de très nombreuses mentions d’artistes antérieurs au XXe siècle et extérieurs au monde occidental, formant une sorte de chœur où les divers arts se répondent, mais avec des dissonances.