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Le rôle des noms propres dans les détournements : Le cas des bandeaux dans un journal télévisé satiriqu

100%
Davis L.
Academic Journal of Modern Philology
|
2020
|
vol. 9
79-90
EN
The figure of detournement can be defined as a dialogic phenomenon resulting from the embedding of two utterances into a single utterance. This study is focused on a specific use of this figure: the case of the lower-third in the satirical news broadcast genre. Using a corpus of 56 occurrences from the French TV show, Les Guignols de l’Info, we investigate the role of proper names in the construction of the implicit dialogic meaning inherent to detournements. Our hypothesis is that the spatially hierarchical structure of the two segments which form the lower-third, i.e. a spatially higher segment containing a proper name and a spatially lower one containing an utterance, corresponds to an enunciative hierarchy, in which the interpretation of the second segment relies on the first. We explore two functions that arise from this distinct structure: the nomination of the habitual user(s) of the proper name(s) and the attribution of direct reported speech to the said individual(s). Our aim is to show how these two functions are the result of a dialogic interaction between multiple discourses, activated by the different elements of which the lower-thirds are composed.
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Stanisław Barańczak i awangarda

87%
Świeściak A.
Przestrzenie Teorii
|
2016
|
issue 26
65-85
PL
The poetry of Stanisław Barańczak, who himself was against historical avant-garde as a movement that abandoned ethical commitments, has quite a lot in common with avant-garde. Like other New Wave artists, his poetry can be read in the context of the neo-avant-garde and counterculture, e.g. in the context of Guy Debord’s The Society of the Spectacle and Herbert Marcuse’s Onedimensional Man, with the propositions that overlap in many places with those of Baranczak’s “dialectic Romanticism”. When analysing the links of this poetry with the participant art of the 1960s and 1970s, it can be concluded that new-wave commitment has little in common with the typical attempts of the neo-avant-garde at regaining privacy, since the political character of Barańczak’s poetry is based on giving a position of privilege to the martyrdom code of Polish romanticism, which he frames in elitist modernist language.
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