Romanica Wratislaviensia, liii : Mélanges de langue et de littérature offerts au Professeur Eugeniusz Ucherek

Romanica Wratislaviensia LIII Mélanges de langue et de littérature offerts au Professeur Eugeniusz Ucherek

Rédacteur du volume – Elżbieta Biardzka

Wydawnictwo Uniwersytetu Wrocławskiego

Wrocław 2006

(Acta Universitatis Wratislaviensis Nr 2848)

Table des matières

• Eugeniusz Ucherek. Notice biographique (Elżbieta BIARDZKA) 7
• Michel BELLOT-ANTONY, Vocabulaire et société en France dans la seconde moitié du XX^e siècle 11
• Elżbieta BIARDZKA, Sur sous et de ses (faux)-amis polonais. L'espace et son image dans la tête des Français et des Polonais 21
• Krzysztof BOGACKI, Avec et ses équivalents polonais dans la perspective de la traduction automatique 27
• Urszula DĄMBSKA-PROKOP, Comment traduire une préposition? 35
• Krystyna GABRYJELSKA, Francuska opera komiczna w Polsce w XVIII wieku 39
• Teresa GIERMAK-ZIELIŃSKA, Prépositions à et de : un contraste de sens possible? 59
• Monika GRABOWSKA, Graffiti, blog, podcasting, sms, chat… quelques réflexions sur la communication des jeunes 67
• Stefan KAUFMAN, La terminologie entre la description et la norme : quelques éléments de réflexion 81
• Marek KĘSIK, Des « seins hauts » aux « fesses rondes ». Méronymes corporels : contraintes sémantiques et syntaxiques 89
• Justyna ŁUKASZEWICZ, L'onomastique au théâtre : noms des personnages dans les drames de Franciszek Zabłocki et leurs modèles français 99
• Maja PAWŁOWSKA, Des méandres de la typologie du roman chez l'abbé d'Aubignac 111
• Michel QUEREUIL, Les italianismes dans le Devisement du monde de Marco Polo 119
• Piotr SAWICKI, Jitka SMIČEKOVÁ, Vieil arbre d'un coup ne s'arrache. Gobelin starości zbiorową wyobraźnią czterech narodów spleciony 127
• Edmund SIKORA, Sémantique lexicale du point de vue du Lexique Génératif 139
• Elżbieta SKIBIŃSKA, Dépersonnalisation et anonymat au service des idées reçues : observations sur le pronom on dans Madame Bovary 151
• Witold UCHEREK, L'expression à la base de est-elle un équivalent français des locutions polonaises na podstawie (+génitif), na bazie (+génitif) et w oparciu o (+accusatif) ? 161

Résumés :

• Michel BELLOT-ANTONY, Vocabulaire et société en France dans la seconde moitié du XX^e siècle 11

Summary

FRENCH VOCABULARY AND SOCIETY IN THE SECOND HALF OF THE 20^th CENTURY

The purpose of this short study is to show, starting from a list of new words and meanings found in Le Petit Robert between 1960 and 1999, how lexical creation reflects the evolution of society. It appears that the majority of these neologisms came to life in the sixties and that, particularly in the aftermath of the 1968 events, they were mainly concerned with the liberalisation of manners. In the following decades lexical creation was less important and was mainly linked to the expansion of new technologies (electronics, computer science and new communication media). Thus, in its own way, the dictionary tells us about the history of the society and testifies to the vitality and wealth of the French language.

Key words: vocabulary, society, neologism

• Elżbieta BIARDZKA, Sur sous et de ses (faux)-amis polonais. L'espace et son image dans la tête des Français et des Polonais 21

Summary

THE PREPOSITION SOUS AND ITS POLISH “RELATIVES”. SPACE AND ITS FRENCH AND POLISH MENTAL IMAGES.

The study examines the locative uses of the French preposition sous and its two Polish equivalents, prepositions na [on] and w [in] used with the locative. The latter two can be equivalents of sous only in specific contexts which, according to the present author, are determined by the differences in how the French and the Poles perceive the linguistic (contained in the language) spatial visions of certain localisers. This applies, for instance, to the often makeshift constructions such as "summerhouses, porches, tents, huts" as well as arch-shaped localisers such as "tunnels, gates". The French mental image of these localisers focuses on the fact that these constructions have roofs, which in the case of tents and summerhouses determines their function: to protect against rain and sun and provide some shelter. That is why the French nouns that name these localisers are preceded by the preposition sous which localises them on the vertical axis and expresses the spatial subordination of the localised object with respect to the localiser's roof. The Polish mental image either emphasises the fact that these constructions have floors (« weranda - na werandzie »; porch - on the porch), in which case the names of such localisers are preceded by the Polish preposition na expressing spatial superordination, or it treats these localisers as containers, simplified cuboids, and in that case their Polish names are preceded by the preposition na expressing spatial insidedness. Language is not a carbon copy of reality; the notions of events and objects contained in it are processed and often simplified. Some features of objects are blurred, other are emphasised. One can, therefore, talk of a mental image of an object or a linguistic stereotype which determines the use of specific linguistic forms.

Key words: stereotype, preposition, space

• Krzysztof BOGACKI, Avec et ses équivalents polonais dans la perspective de la traduction automatique 27

Summary

AVEC AND ITS POLISH EQUIVALENTS IN THE LIGHT OF MACHINE TRANSLATION

The ambiguity of natural languages is one of the obstacles in machine translation. Two methods are used to remove it, neither of which is 100% certain, however. The present author presents a method based on an analysis of the context in which the French preposition avec appears and is to be translated into Polish. The removal of ambiguity means expanded descriptions of lexical units on the transfer dictionary level and more translation rules added in the form of local grammars. The descriptions of lexemes depend on the languages between which the translation is made and on the direction of the translation. A complete removal of ambiguity is impossible.

Key words: preposition, automatic translation, equivalence

• Urszula DĄMBSKA-PROKOP, Comment traduire une préposition? 35

Summary

HOW TO TRANSLATE PREPOSITIONS?

As we know, the translator has to ask and answer two questions: 1° how is the translation process determined by the structural differences between the source language and the target language; 2° what is the role of different mentalities shaping the two cultures in their contact.

The present study focuses on only one specific problem: the use of prepositions in three translations of a passage from Jean Rouaud's Les Champs d'honneur (Goncourt Prize winner for 1999). We demonstrate the polysemy of the preposition dans as well as different solutions proposed by the three translators. The function of the selected passage was underlined too - as an expression of opinio communis, and, at the same time, of a subjective point of view of the author. This analysis can be further developed.

Key words: translation, polysemy, prepositions

• Krystyna GABRYJELSKA, Francuska opera komiczna w Polsce w XVIII wieku 39

Résumé

L'OPÉRA COMIQUE FRANÇAIS EN POLOGNE AU XVIII^e SIÈCLE

Le théâtre polonais au XVIII^e siècle a subi une notable influence étrangère, surtout française qui à l'époque rayonnait sur l'Europe. La réception des pièces françaises en original encourageait aussi de nombreuses traductions, qui à son tour, allaient de pair avec une riche et abondante réflexion théorique concernant l'art de traduire. Le besoin d'élargir la production locale était bien visible, surtout les adaptations des pièces françaises constituaient un élan important dans l'essor de la scène polonaise.

L'intervention dans le texte original se produisait de différentes façons mais en général et les auteurs, et les théoriciens s'accordaient que l'oeuvre adaptée doit respecter le goût du spectateur et encore être ouverte à l'actualité, ce qui veut dire présenter les moeurs du temps et du pays. On était conscient que c'est une oeuvre qui naît des rapports qu'entretient le spectacle avec son public. En effet, il s'agissait de respecter dans l'oeuvre adaptée la couleur locale, les événements historiques, les moeurs et les habitudes quotidiennes.

L'opéra comique français a effectivement enrichi la production des oeuvres locales et en même temps il a considérablement augmenté la culture théâtrale et musicale en Pologne. Ce genre souple, joyeux et plaisant était le meilleur moyen d'offrir aux spectateurs un divertissement agréable avec une fonction moralisatrice tellement appréciée par les gens des Lumières.

Summary

THE FRENCH COMIC OPERA IN POLAND IN THE 18^th CENTURY

The Polish theatre in the 18^th century was under a huge French influence, and France was then the most proeminent cultural country in Europe. The reception of French plays in the original language also led to many translations which, in turn, promoted a rich and abundant theoretical reflection on the art of translation. The need to enlarge local output was clear and above all, adaptations of French plays contributed to an important development of the Polish theatre.

The translation operations on the original texts differed but usually, their authors as well as the theoreticians agreed that the adaptated play must fit with the audience's tastes and be in accordance with their time, which means that they had to display the customs of the epoch and the country. Everyone was conscious that it had to be an art emerging from connections between the play and the public. The adapted plays were therefore supposed to respect local folklore, historical events, customs and everyday behaviours.

The French comic opera substantially enriched the production of local plays and, at the same time, considerably increased the theatrical and musical Polish culture. This flexible, joyful and funny genre was the best means to present to the public a pleasant entertainment containing the moral teaching which the people of the Age of Enlightenment so much appre-ciated.

Key words: 18^th-century theatre, Polish translation, adaptation

• Teresa GIERMAK-ZIELIŃSKA, Prépositions à et de : un contraste de sens possible? 59

Summary

PREPOSITIONS Á AND DE AS A POSSIBLE PAIR OF ANTONYMS

The author demonstrates the possibility of the existence of an antonymous relation with respect to a common spatial domain of meaning. The preposition á is treated as an operator that links the static predicate ‘be' with the locative argument ‘place'. On the other hand, the preposition de links the dynamic predicate ‘cease to be' with the argument of place. The opposition of prepositions is therefore closely related to the aspect of the predicate. The uses of prepositions in temporal and abstract phrases do not display such distinct opposing features. The author's analysis of the uses of prepositions is based on an excellent contrastive description included in Eugeniusz Ucherek's French-Polish dictionary of prepositions.

Key words: preposition, antonym, syntax

• Monika GRABOWSKA, Graffiti, blog, podcasting, sms, chat… quelques réflexions sur la communication des jeunes 67

Summary

GRAFFITI, BLOG, PODCAST, SMS, CHAT... REFLECTIONS ON HOW YOUNG PEOPLE COMMUNICATE

The article explores the forms of communication used by young people, forms that have flourished as a result of increased mobility of the world's population (following a fall in the costs of travel) and the development of internet and satellite technologies. These forms are: graffiti, blog, text messages, chat and podcast (system of exchange of audio and video files).

The article presents these forms of communication from the point of view of terminology, emphasising their complexity (especially in the case of graffiti, initially an act of vandalism, an expression of the hip-hop culture, now also used for ideological and purely artistic purposes on surfaces specially allocated for this). The author then draws certain conclusions concerning the transformation which communicative functions have undergone in the 21^st century. These include unification of the reference space (the city and the internet); expansion of communication channels; decline in the value of writing in comparison with the spoken code; disappearance of borders between written, digital and iconographic codes; disappearance of the sentence; increasing significance of the dialogue, domination of the poetic and the phatic functions in utterances, evolution of phonetics and spelling.

Key words: graffiti, communication technologies, functions of communication

• Stefan KAUFMAN, La terminologie entre la description et la norme : quelques éléments de réflexion 81

Summary

TERMINOLOGY BETWEEN NORM AND DESCRIPTION. REFLECTIONS

Many misunderstandings concerning the traditional theory of terminology result, it seems, from an insufficiently clear distinction between norm and description, between the research that wants to give an account of the existing state of affairs and the practice that wants to improve it. In the light of the above distinctions, the author discusses the basic axioms of classical terminology: the realism of terminology, the onomasiological character of termi­nology and terminological activity, the treatment of concepts and their systems as the subject of terminology, the treatment of the concept as the only meaning of a term, the unequivocalness of relations between the term and the concept, the immutability of the term, the universality of specialist terms.

Key words: terminology, descriptive approach, prescriptive approach

• Marek KĘSIK, Des « seins hauts » aux « fesses rondes ». Méronymes corporels : contraintes sémantiques et syntaxiques 89

Summary

FROM « SEINS HAUTS » (FIRM BREASTS) TO « FESSES RONDES » (ROUND BUTTOCKS). MERONYMS OF BODY PARTS: SEMANTIC AND SYNTACTIC DETERMINANTS

The article refers to G. Kleiber's studies on meronymic associative anaphora (part-whole relationship), such as tree-trunk, and in particular to the difficulties encountered during analysis of anaphoras concerning body parts (cf. Le garçon courait sous la pluie. *Les pieds étaient mouillés. “The boy ran in the rain. *The feet were wet.”). Kleiber's suggestion to use “absolute” structures alienating the body (cf. Le garçon courait sous la pluie, les pieds mouillés) and controlled by the subject of the main clause does not allow us to describe appositional structures (détachées) not controlled by the subject. This becomes possible only if we take into account the contextual-diachronic approach to these structures proposed by B. Combettes. The present article is an attempt to combine both types of analysis and at the same time to solve other problems, including the identification of the antecedent, the classification of features or the difference between the syntactical and the conceptual structures. The analysis focuses on the vivid portrayal of a narcissistic Amazon from B. Combettes' monograph.

Key words: anaphora, part-whole relations, syntax

• Justyna ŁUKASZEWICZ, L'onomastique au théâtre : noms des personnages dans les drames de Franciszek Zabłocki et leurs modèles français 99

Summary

ONOMASTICS IN THE THEATRE : NAMES OF CHARACTERS IN FRANCISZEK ZABŁOCKI'S PLAYS AND THEIR FRENCH MODELS

Franciszek Zabłocki's plays came into being as a result of translations or adaptations of French plays, from Molière's comedies to bourgeois drama. Some names of characters are translations (translocations, adaptations or transpositions) of anthroponyms occurring in the original works, but – following the prevailing tendency in the Polish theatre at the time – they are less numerous than the meaningful names (created independently of the originals or inspired by proper names present there). The names (including diminutives) and surnames used by Zabłocki, names that can be classified according to four of Czesław Kosyl's main trends of literary nomenclature (realistic, pseudo-onomastic, conventional and semantic), take part in the process of obliterating the traces of the original culture and creating new local colour, and enrich the characters' construction.

Key words: onomastics, theatre, translation

• Maja PAWŁOWSKA, Des méandres de la typologie du roman chez l'abbé d'Aubignac 111

Summary

TYPOLOGICAL INTRICACIES IN FATHER D'AUBIGNAC'S NOVEL

The emergence of the 17^th century French romance was accompanied by attempts to create a typology of this new literary genre. One of those attempts was made by Father d'Aubignac in the foreword to his novel, Macarise ou la Reine des Isles Fortunées. D'Aubignac distinguished three types of romances: historical romances based on ancient epics; romances with entirely fictional subjects; romances presenting, in an oblique way, contemporary events at the court. This typology was based on inventio, its verisimilitude, and the moral significance of particular works. These criteria, considered by d'Aubignac to be the measures of the value of each work, were not applied systematically by him, and despite the fact that he condemned fictitiousness in historical novels, he did allow them in fictional romances. In general, d'Aubignac criticised all types of existing novels. Instead, he proposed, as a new model, his own allegorical novel Macarise in which he combined the structure of a novel with a philosophical subject-matter. He wanted thus to ennoble a genre that was disrespected by the critics. D'Aubignac proposal was, however, roundly rejected by the readers; the novel was pronounced badly structured and boring.

Key words: French theory and criticism, 17^th-century French novel, baroque French adventure novel

• Michel QUEREUIL, Les italianismes dans le Devisement du monde de Marco Polo 119

Summary

ITALIAN BORROWINGS IN MARCO POLO'S DEVISEMENT DU MONDE

Le Devisement du monde, which gives an account of Marco Polo's famous travels, retains many linguistic clues reminding us of its genesis. It was indeed probably written by a writer from Pisa after he had listened to the Venetian traveller's story when they were both in prison in Genoa. Though the language of the book was French, the manuscripts which we can read today show numerous Italianisms, mainly in the French-Italian version. The purpose of this paper is to study some of those characteristics both in the French-Italian version and in the French one.

Key words: Italian loan-words, vocabulary

• Piotr SAWICKI, Jitka SMIČEKOVÁ, Vieil arbre d'un coup ne s'arrache. Gobelin starości zbiorową wyobraźnią czterech narodów spleciony 127

Résumé

VIEIL ARBRE D'UN COUP NE S'ARRACHE. UNE TAPISSERIE DE LA VIEILLESSE TISSÉE DANS L'IMAGINAIRE COLLECTIF DE QUATRE PEUPLES

Nous avons observé les similitudes et les différences dans la manière d'exprimer et de valoriser les phénomènes et les comportements caractéristiques de la vieillesse sur base des proverbes français, espagnols, polonais et tchèques les plus marqués. Classés par thèmes, ils donnent une image de la vieillesse même, mais aussi des préjugés et des restrictions que chacune de ces cultures lui superposent, en particulier dans le domaine érotique. Les questions érotiques transparaissent surtout dans la tradition espagnole, plus conservatrice, tandis que proverbes français, plus sentencieux et plus complexes, expriment avec subtilité tant les limitations que les besoins du troisième âge. Quant aux proverbes slaves, ils ont un caractère plus populaire, ils sont expressifs et truculents, ils sont souvent ironiques, voire mordants. Leur caractère explicite et imagé rappelle le refranero espagnol et confirme des similitudes entre l'imaginaire populaire de ces deux cultures, certes éloignées l'une de l'autre géographiquement, mais enracinées dans un tronc culturel commun, dans la civilisation de l'Europe romanisée où le latin, comme langue de communication, a aussi donné les prototypes de nombreux proverbes.

Summary

VIEIL ARBRE D'UN COUP NE S'ARRACHE. TAPESTRY OF THE OLD AGE WOVEN BY COMMON IMAGINATION OF FOUR NATIONS

The authors examine differences and similarities in expressing value judgements of various phenomena and behaviour characteristic for old age on the basis of the most typical French, Spanish, Polish and Czech proverbs. When ordered systematically, they depict the old age itself as well as the prejudices and social restrictions, especially concerning erotica, present in each of the four cultures. The restrictions are particularly strong in Spain's conservative tradition, while the aphoristic and concise French proverbs subtly express both the restrictions and the needs of the third age. Slavic proverbs are more plebeian; they are blunt and expressive, often playful or even biting. Their explicitness and vividness resemble Spanish refranero, which confirms the similarity of the folk imagination of the nations - geographically distant but growing from the same cultural roots of the Romanised Europe and of Latin, the language of mutual communication and the source of many proverbs.

Key words: old age in proverbs, Romaine and Slavonic proverbs

• Edmund SIKORA, Sémantique lexicale du point de vue du Lexique Génératif 139

Summary

LEXICAL SEMANTICS FROM THE POINT OF VIEW OF THE GENERATIVE LEXICON THEORY

The present article is an attempt to present, in a concise manner, what is new and apparently less common within the research on the meaning of lexical units, what is associated with a theory known as J. Pustejovsky's Generative Lexicon theory. There are two components of the Generative Lexicon:

• semantic representation of the meaning of lexical units, and
• series of mechanisms that generate each new meaning of a particular expression arising from its context, through interaction between the content of the expression and its arguments.

The first component concerns four levels of the definition of meaning. They are:

- argument structure implied by a given lexical unit,

- event structure,

- structure of typical features of a given object or event called qualia,

- inheritance structure which show how a particular structure of meaning is related to other structures with respect to the selection of typical arguments.

The second component concerns three types of processes generating new meanings. They are:

- “coercing” of a change in the typical semantic interpretation of a given lexical unit by the

superordinate word, without changing its typical syntactic value,

- selective binding of the current meaning of an adjective depending on the meaningful part of the noun determined by this adjective,

- co-composition that explains the change in the meaning of, for instance, a verb caused by the meaning of its argument.

Key words: type coercion, selective binding, co-composition

• Elżbieta SKIBIŃSKA, Dépersonnalisation et anonymat au service des idées reçues : observations sur le pronom on dans Madame Bovary 151

Summary

INDEFINITENESS AND ANONYMITY IN THE SERVICE OF STEREOTYPE: REFLECTIONS ON THE PRONOUN ON IN MADAME BOVARY

The French pronoun on, whose interpretation - as it has often been described in detail - depends on various elements of the context, may be an interesting tool for constructing the represented world in a novel, a fact supported by an increasing number of studies devoted to the analysis of the function of on in literary texts (Maingueneau, Rabatel, Jonasson, Mellet). The present author intends to determine certain specific ways of using on. She analyses those situations in Madame Bovary which allow us to identify the agent but where the indefinite pronoun causes the agent to be presented as indefinite or anonymous. The use of this pro­noun strengthens the stereotypical nature of the behaviour or statements of some characters, which reflects one of the central ideas of Flaubert's novel, to expose the working of stereotypes.

Key words: French pronoun on, French novel, stereotype

• Witold UCHEREK, L'expression à la base de est-elle un équivalent français des locutions polonaises na podstawie (+génitif), na bazie (+génitif) et w oparciu o (+accusatif) ? 161

Summary

IS THE PHRASE Á LA BASE DE THE FRENCH EQUIVALENT OF THE POLISH PREPOSITIONAL PHRASES NA PODSTAWIE [ON THE BASIS OF] ( + GENITIVE), NA BAZIE [BASED ON] (+GENITIVE) AND W OPARCIU O [DRAWING ON] (+ACCUSATIVE)?

The article is an attempt to determine what makes native speakers of Polish use the complex preposition á la base de to express the relational feature 'opierając się na' [drawing on], instead of using sur la base de in this context. Although an analysis of particular base-linked entries in selected French dictionaries reveals a rather fragmentary picture of the relations between phrases containing the nominal element base, phrases which also include á base de and sur base de, there is no doubt that only sur la base can be regarded as an inter-language synonym of such Polish structures as na podstawie czegoś [on the basis of something], w oparciu o coś [drawing on something] or na bazie czegoś [based on something]. Yet the existing general bilingual Polish-French and French-Polish dictionaries do not confirm the existence of such an equivalence: na podstawie czegoś and its synonyms are usually translated with participial phrases, while sur la base de is not taken into account at all. An analysis of specialist dictionaries, on the other hand, suggests that the relation expressed in Polish by the above mentioned complex prepositions is relatively infrequently rendered in French by analogous formal means. This is the first reason for linguistic errors made by native speakers of Polish who want to express this relationship in French by using a complex preposition with a similar lexical composition, which means a phrase containing the word base. In addition, from among the four phrases containing this component they choose á la base de since it follows the most frequent structural pattern of French complex prepositions.

Key words: French and Polish prepositions, comparative linguistics, translation