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Résumé Cet article propose la présentation de quelques traits particuliers de la philosophie française au XXème siècle. S’appuyant aussi sur des considérations de Fréderic Worms, on lira ici le jeune Derrida et ses influences afin de determiner comment une discussion sur la vie et les aspects biologiques de la pensée auront marqué le profil de la philosophie française lui donnant sa caractéristique toute particulière. Les questions posées ici, alors, se doivent à l’effort de penser comment et pourquoi l’autorité logique, mathématique et, par extension, scientifique, s’appuie sur des arguments qui convoquent la vie, l’essence du vivant, pour conformer la légitimité de cette autorité. Ce sont donc les déploiements de la phénoménologie husserlienne dans l’œuvre de Cavaillès les aspects qui se rassembleront dans la pensée de Derrida, pour qui la question de la mort et de la sexualité a été toujours centrale. Resumo Este artigo propõe a apresentação de alguns traços particulares da filosofia francesa do século XX. Apoiando-se também nas considerações Frédéric Worms, far-se-á uma leitura do jovem Derrida et das suas influências, a fim de sublinhar de que modo uma discussão sobre a vida e os aspectos biológicos do pensamento terão marcado o perfil da filosofia francesa, conferindo-lhe, e não outra coisa, sua característica muito singular. As questões dispostas aqui, assim, devem-se ao esforço de pensar como e por que a autoridade lógica, matemática e, por extensão, científica, apoia-se sobre argumentos que convocam a vida, a essência do vivo, para conformar a legitimidade da desta autoridade. São, portanto, os desenvolvimentos da fenomenologia husserliana na obra de Cavaillès, os aspectos que se agruparão no pensamento de Derrida, para quem a questão da morte e da sexualidade sempre foi central. Abstract This paper undertakes to delineate some important characteristics of 20th-century French philosophy. On the basis of the work of Frédéric Worms, we propose to read the young Derrida and his influences so as to show how the debate around the idea of life and the biological features of thought defines the profile of French philosophy. Indeed, it is this debate, and not some other thing, that determines its peculiarity. The questions that we approach derive from the task of thinking how and why logical, mathematical, and by extension, scientific authority is grounded - so as to establish its legitimacy - on arguments that refer to life, and to the essence of living. The developments of the Husserlian phenomenology in the works of Cavaillès are, in particular, the aspects that will frame Derrida’s thought, for whom the question of death and sexuality was always central.

The aim of this paper is to answer the question of whether the use of the Polish language by students during the workshops of creative language behaviors in philological studies hinders or facilitates students’ learning of French as a foreign language. In the first part of the paper, we specify the properties of creative language behaviors and their development in the learners of French as a foreign language, then we characterize the creative language behavior workshops organized for our students of French as a foreign language, and finally we discuss the results of our research concerning the use of the Polish language by students during the above-mentioned workshops.

The phosphorescence of the sea has aroused much questioning since antiquity and numerous studies address the topic in the 19th century, when this phenomenon (today referred to as bioluminescence) is given a biological explanation. Raising admiration, wonder, but also scientific controversy, the bright sea is a common motif, frequently reappearing in scientific travel writing, research studies in marinebiology, popular science and literary texts. This paper examines the imaginary component which under-lies these different texts and seems attached to the depiction of living light.

The purpose of the paper is to analyze a discourse (via the ethos and pathos concepts) published by the French philosopher Bernard-Henri Lévy to defend his friend Dominique Strauss-Kahn when the DSK sex affair appeared on May 2011. This analysis presents how persuasive discourse, while defending the accused (DSK), becomes a tool used to create the image of the defendant of the accused (BHL as the intellectualist that fights for social justice). This strongly emphasized ethos creates natural imbalance – the one that talks become more important than the one who is the subject of his speech. This effect is strengthened by the emotional impact – pathos is built upon the feeling of indignation.

International audience; The research presented in the paper is a part of the project carried out at the Institute of Romance Languages and Literatures at the University of Adam Mickiewicz in Poznań. The research aims at determining the underdeveloped areas of advanced learners' listening skills. The ultimate objective of our research is the development of discursive approach toward teaching and learning (Górecka, Wilczyńska, Wojciechowska in press). The study focuses on analyzing writing strategies used by students in the task of summarizing the chosen sequences of media debates in the radio program Le téléphone sonne. We claim that the way the students formulate their answers can reveal, to some extent, the difficulties they encounter in analyzing and synthetizing oral discourse. The analysis of students' writing strategies may contribute to the elaboration of pre-task instructions and evaluation techniques, which may result in a better approach to the development of listening skills.

The paper describes two main methods of teaching text translation, applied in courses of literary and specialized texts translation for a general public, and in a specialized course of translation for MA advanced students. In both methods the use of Polish language as a mother tongue is considered legitimate not only as a language of translation but also as a main vehicle of communication in the process of acquiring translation skills. This role of the mother tongue is extremely important in defining the translation brief and in the evaluation of target texts. The article provides several examples in order to illustrate and justify this thesis.

The aim of this paper is to show the deep relationship between the second marriage as a juridical and political problem in France in 1560 and the critical method of the « juridical humanism » used by Le Caron, based on the desacralization of the Roman law (by using philosophical and historical references) and the glorification of the French language and civilization. In that extent, the Commentaire sur l’edict des secondes nopces (1560) may be seen as an exercise of « illustration » of the French juridical language (refering to the literary context of the marriage) and praise of the king of France (paterfamilias and lawgiver).

The present paper is an attempt supplying proofs that gestural signs are almost like standard linguistic signs. It is claimed that language gestures exhibit numerous properties of classical linguistic signs conceived of as in the works of de Saussure. The dividing line between the two pertains, in essence, to the type of motivation between the signifier and the signified, found within gestural, but not linguistic signs. There is a conspicuous connection between the two aspects of the sign within various kinds of gestures, including volitional ones (most akin to speech acts or „la parole” of the Saussure) as well as within those which are not performed on purpose (called „sylinguistic” gestures).

The paper describes the linguistic paradox from a semantic point of view, in particular the mechanisms involved in paradox neutralization in a context. The theoretical and methodological perspective of the study, linked to the current stemming from French structural semantics, lays a particular emphasis on mutual relations between the analyzed elements, though considered in a micro- and macrosemantic context. Special attention is paid to basic types of paradox neutralization: semantic dissimulation (as to time, optics and point of view) and semantic assimilation, as well as tropical interpretation of a string, more exactly – metaphoric, hyperbolic and ironical.

"Théâtre politique" ne signifie, bien souvent, pas grand chose - pas plus que l'incantation, certes valorisante, "tout théâtre est politique". Mais que désigne en ce cas la politique ? Il est proposé, dans cet article, d'entendre "politique" au sens de "communisme", tel que le philosophe Alain Badiou, dans sa théorie de l'émancipation, en a récemment thématisé ces principaux points. Il est en effet émis l'hypothèse d'une "hypothèse communiste". Ce travail se propose dès lors d'interroger les potentielles incidences sur le "théâtre politique" (un théâtre de "l'hypothèse communiste") du rattachement de la politique aux seules perspectives émancipatrices et égalitaires. Par là, il souhaite esquisser, à la suite de Badiou, une première périodisation de ce théâtre, réfléchir à l'appréhension de son histoire et amorcer, conséquemment, l'étude de ses enjeux et de ses tâches. "Teatro político" não significa, muitas vezes, grande coisa - nada mais que o encantamento, certamente valorizador, de "todo teatro é político". Mas que designa nesse caso a política? Pretende-se, neste artigo, entender "político" no sentido de "comunismo", tal qual o filósofo Alain Badiou tematizou recentemente em sua teoria da emancipação. Com efeito, emite-se aí a hipótese de uma "hipótese comunista". Este trabalho propõe-se desde já interrogar as potenciais incidências, sobre o "teatro político" (um teatro da "hipótese comunista"), da ligação da política unicamente com as perspectivas emancipatórias e igualitárias. Com isso, deseja esboçar, no rastro de Badiou, uma primeira periodização desse teatro, refletir sobre a apreensão de sua história e introduzir, consequentemente, o estudo de suas estratégias e funções. "Political theatre" does not often mean very much - no more than the incantation of the statement "all theatre is political". But what does politics represent in that case? This article understands "political" in the sense of "communism", in the same way the philosopher Alain Badiou has recently defined it in his theory of emancipation. Indeed what he proposes is the hypothesis of a "communist hypothesis". The purpose of this paper is to question the potential incidences of the relation between politics and the only emancipatory and egalitarian perspectives on the "political theatre" (a theatre of "communist hypothesis"). In this way it aims to sketch out after Badiou a first periodization of this kind of theatre; to reflect on the apprehension of its history and to start examining its strategies and functions.

L’essai propose une relecture de la tension entre poésie en vers et en prose chez Baudelaire à partir de l’opposition entre "chats" et "chiens", personnages récurrents dans l’œuvre du poète. Avec/ contre Baudelaire, l’auteur y propose l’affirmation de la prose - de la "prose en prose(s)" - et la renonciation, dans la poésie contemporaine, à toute manifestation du "sublime moderne". O ensaio propõe uma releitura da tensão entre poesia em versos e em prosa em Baudelaire a partir da oposição entre "gatos" e "cães", personagens recorrentes na obra do poeta. Com/ contra Baudelaire, o autor propõe a afirmação da prosa - da "prosa em prosa(s)" - e a renúncia, na poesia contemporânea, a toda manifestação do "sublime moderno". The paper proposes a rereading of the tension between poetry and prose in Baudelaire, taking as its starting point the opposition between "cats" and "dogs", recurring characters in the poet’s work. With/ against Baudelaire, the author argues for an affirmation of prose - "prose in prose(s)" - and the rejection, in contemporary poetry, of any instances of the "modern sublime".

Le lyrisme baudelairien ne saurait donc être confondu avec un idéalisme; la transcendance qui l’anime ne vise pas un autre monde: elle est le mouvement par lequel notre monde se révèle autre au sujet qui s’ouvre à lui. O artigo discute a herança baudelairiana em suas relações com o romantismo e a modernidade. Para tanto trabalha-se em especial a noção de lirismo, que é dissociada do idealismo com o qual é freqüentemente confundida. This paper discusses the Baudelairean heritage in its relationship with romanticism and modernity. This is carried out through the notion of lyricism, which is dissociated from the idealism, with which it is frequently confused.