6533b7cffe1ef96bd12580a2
RESEARCH PRODUCT
Sarraute's plays : poplyphony and enunciation
Suzanne Zaaroursubject
Enunciation layersDiscours rapportésLecteurPolyphonyDialogismReported speechSituation d’énonciationÉnonciation« double énonciation »Direct speechAuditeur“double enunciation”Polyphonie sémantiquePlans énonciatifsEnunciationPolyphonie[SHS.LITT] Humanities and Social Sciences/LiteratureLectorEnunciation situationDialogismeSemantic polyphonydescription
The corpus is formed of six plays of Nathalie Sarraute; it hides a duplication of enunciation types in the characters’ dialogue. This duplication is latent due to personal pronouns and verb tenses’ neutralization. The transition from an enunciation layer to another is not marked at all or not traditionally marked. Therefore, deciphering will be more complicated to any reader, listener or spectator. These works of art are also highly polyphonic in terms of enunciation as in semantics, as several voices are intertwined and as the characters resort to authorities of point of view. Thus, readers, listeners and spectators should identify enunciation sources and “other” authorities of point of view to distinguish them from the original voices and to know what their contribution to the plays is. Even some speeches are reported and, predominately repeated as direct speech. Therefore, enunciation layers and enunciators are multiplied. We can also notice other voices in plays, as the author’s through what is called “stage directions” and other parts of the texts, the practitioners’ and the director’s through the performance.
| year | journal | country | edition | language |
|---|---|---|---|---|
| 2014-01-01 |