Givenness, procedural meaning and connectives: The case of French puisque

I argue that the communication of given information is part of the procedural instructions conveyed by some connectives like the French puisque. I submit in addition that the encoding of givenness has cognitive implications that are visible during online processing. I assess this hypothesis empirically by comparing the way the clauses introduced by two French causal connectives, puisque and parce que, are processed during online reading when the following segment is ‘given’ or ‘new’. I complement these results by an acceptability judgement task using the same sentences. These experiments confirm that introducing a clause conveying given information is a core feature characterizing puisque, as the segment following it is read faster when it contains given rather than new information, and puisque is rated as more acceptable than parce que in such contexts. I discuss the implications of these results for future research on the description of the meaning of connectives.

English and French causal connectives in contrast

Discourse connectives are often said to be language specific, and therefore not easily paired with a translation equivalent in a target language. However, few studies have assessed the magnitude and the causes of these divergences. In this paper, we provide an overview of the similarities and discrepancies between causal connectives in two typologically related languages: English and French. We first discuss two criteria used in the literature to account for these differences: the notion of domains of use and the information status of the cause segment. We then test the validity of these criteria through an empirical contrastive study of causal connectives in English and French, performed on a bidirectional corpus. Our results indicate that French and English connectives have only partially overlapping profiles and that translation equivalents are adequately predicted by these two criteria.

Car, parce que, puisque’ revisited: Three empirical studies on French causal connectives

In French, a causal relation is often conveyed by the connectives car, parce que or puisque. Since the seminal work of the Lambda-l Group (1975), it has generally been assumed that parce que, used to relate semantic content, contrasts with car and puisque, both used to connect either speech act or epistemic content. However, this analysis leaves a number of questions unanswered. In this paper, I present a reanalysis of this trio, using empirical methods such as corpus analysis and constrained elicitation. Results indicate that car and parce que are interchangeable in many contexts, even if they are still prototypically used in their respective domain in writing. As for puisque, its distribution does not overlap with car, despite their similar domains of use. I argue that the specificity of puisque with respect to the other two connectives is to introduce a cause with an echoic meaning.

L'oeuvre de Sade et le conte. Le retour refoulé de Barbe-Bleue

Cet article s’intéresse aux différentes fonctions que l’on peut attribuer aux éléments fabuleux dans les œuvres du marquis de Sade. Il s’agit en particulier d’éclaircir les liens intertextuels entre Barbe-Bleue et un conte allégorique que le marquis publie, en 1800, dans la série de ses Crimes de l’amour, sous le titre de Rodrigue ou la tour enchantée. Dans ce texte, la chambre interdite renvoie aussi à un passé criminel, mais elle ne réveille pas la mauvaise conscience et ne suscite aucun remords. Sade semble vouloir faire du conte de Barbe-Bleue le paradigme d’un refoulement manqué, la figure d’une rechute malencontreuse dans un passé archaïque et indigne d’être examiné moralement. Or, les œuvres de Sade ne peuvent plus admettre l’univers surnaturel des contes de fées, considéré comme tout aussi révolu que cette conscience morale qui s’exprime par le remords.

Butor et le livre-installation: montage de textes, Å“uvre plurielle, transits entre univers culturels

La complétude des Œuvres complètes de Butor est problématique, car elle ne prend pas en compte les collaborations de toutes sortes et les œuvres inscrites sur d’autres supports que du papier. Pour avoir une véritable idée de cette complétude, il faudrait donc imaginer une installation qui réunirait à la fois, entre autres, les codex habituels de Butor, les livres d’artistes, les œuvres numériques. On se rendrait compte que cette installation est fondée sur des passages de frontières entre les genres artistiques, l’assemblage et le collage permettant de passer des frontières entre univers culturels différents.