French Town by Michel Ouellette

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By Michel Ouellette

«French Town» est une tragédie contemporaine. Elle met en scène los angeles famille Bédard, qui représente l’expérience de l. a. collectivité, illustre los angeles subjectivité de l. a. mémoire et reveal le rapport entre l. a. langue et l’identité.

Les trois enfants adultes de Gilbert et Simone Bédard, Pierre-Paul, Cindy et Martin, rappellent l’histoire de leur famille dysfonctionnelle tout en envisageant leur vie après le décès de leur mère.

Classique du répertoire francophone, «French Town» a remporté le prix du Gouverneur général en 1994.

Cette nouvelle édition comprend des choix de jugements, une biographie et une bibliographie augmentés.

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Example text

But these lists are clearly different from either of the other kinds of naming. They occur in non-audible contexts in both texts; and though useful and usual, they are optionally deletable because they could be done without — one distinguish­ ing feature of the PARATEXTUAL. The PARATEXTUAL features such as IIA and IIB, and also IIC and IID, lie at the juncture of the TEXTUAL and the SUP­ RATEXTUAL: they are the only elements which, if present, are usually identi­ cal in both the dramatic and theatrical texts, as Figure 2 indicates in the uppermost row.

Striking is the almost total lack of provision for the non-verbal (SUPRATEXTUAL) theatrical media. Despite these and certain other limitations, Elam's scheme has the unusual virtue of being displayed, and it is thoughtful and suggestive. The main point to note is that certain of his elements are closely related to some in this study, though sometimes the connection has been obscured; and that certain elements present in the one study are not present in the other. The division of the text according to microsegments is the method used by field linguists who have studied very diverse and often 'remote' lan­ guages all over the world.

In terms of other dimensions, such as ARISTOTELIAN DIVISIONS or language COMMUNICATIVE FUNCTIONS, more revealing relationships may emerge. 5. Establishing a controlled semiotics for the dramatic microcorpus There is a great need of establishing a controlled semiotics for the stylistic analysis of the drama. The present Chapter specifies six semiotic dimen­ sions which are subject to control. These will be approached through two necessary and problematic facets which have received much attention in the semiotic study of extended texts: the handling of narrative, and the seg­ menting of the texts into suitable units of meaning.

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