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This paper addresses the role of philosophical practice in the development of Aristotelian phronesis to enable younger generation to cope with human vulnerabilities. We study two sessions of philosophical practice involving eleven- and twelve-years old pupils of an educational priority area middle school in Grenoble, France. These activities are inspired by the Lipman's approach of Community of Philosophical Inquiry and the Tozzi's one of democratic and philosophical discussion. Extending our previous research, we investigate more specifically phenomena we refer to as "bimodal metaphorical philosophemes". We define them as sequences of recurring verbal and gestural metaphors that facilitate the co-construction of definitions during philosophical discussions. We show that bimodal metaphorical philosophemes foster the development of phronesis in pre-teens involved in the philosophical discussions we study. In this way, philosophical practices may help future generations cope with human vulnerabilities in the sense described by Cynthia Fleury. [ABSTRACT FROM AUTHOR]

In a speech pronounced in Quimper on the 28th, June 2018, the French president Emmanuel Macron highlights the dangers of a "nationalist leprosy" that is spreading around Europe. The expression triggers polemic reactions on the social networks by those citizens who feel concerned by the metaphor and who create two militant hashtags (Husson, 2016): #JeSuisLépreux and #Lépreux to engage in a polemic against Emmanuel Macron. In this article, a corpus of 146 tweet collected from June 2018 until September 2022 where these hashtags can be found will be analysed through the lenses of French Discourse Analysis in order to answer the following research questions: first, what are the meanings linked to the "leprosy" by those users of Twitter who perceive themselves as the target of the metaphor? Second, why the "leprosy" metaphor does not seem to be an effective argumentation strategy and leads to the alienation of some individuals? Third, what are the risks in using this metaphor and the underlying metaphor that conceptualizes society as an organism (Schlanger, 1971[1995])? Two main positions emerge from the corpus, signalling two different ways of relating to the metaphor used by the French President: a set of users contest the equivalence that is posited between "nationalism" and "leprosy", acknowledging the negative value attached to this last notion and reacting polemically to redefine their nationalist identity in more positive terms; other users appropriate the metaphor and resignify it in a positive light, thus rejecting the underlying transvalorisation (i.e., the transfer of the axiological values from the phore to the theme of the metaphor) that connotates a "leper" as a dangerous subject to be marginalized. These users claim for themselves an identity of "leper" as a form of belonging to the "people" as a homogeneous entity that is opposed to the elites, thus modifying the theme, and transforming the original reference to nationalism in an allusion to populism. [ABSTRACT FROM AUTHOR]

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Cet article intitulé ‹‹ Les figures rhétoriques dans quelques allocutions d'Emmanuel MACRON : étude stylistique ›› représente une analyse du discours politique du chef d'État français Emmanuel MACRON, le plus jeune président de l'histoire de la Vème République française, dont l‟objectif est d‟étudier les figures rhétoriques afin de persuader et de laisser des significations délibérément implicites pour chaque auditeur. Notre étude est basée sur une approche analytique et descriptive à travers l'analyse du discours politique du point de vue rhétorique. Nous nous sommes concentrés sur un certain nombre de figures rhétoriques qui sont classées au sein de l'analyse du discours. De ce fait, cette recherche vise à répondre à la question suivante : Comment Emmanuel Macron a-t-il pu recourir aux multiples types de figures rhétoriques afin de prouver son point de vue et d‟amener l‟auditoire à l‟accepter ? Ce questionnement nous amène à proposer des questions secondaires : Pourquoi Macron a-t-il utilisé des figures d'analogie ? Quelles figures d'amplification et d'atténuation Macron a-t-il emploié pour convaincre ou persuader le peuple français ? À quoi ça sert d‟utiliser des figures d‟insistance dans ses allocutions ? [ABSTRACT FROM AUTHOR]

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La métaphore, un phénomène extrêmement varié, a été traitée non seulement dans le contexte de la poésie et de la rhétorique, mais aussi dans le domaine de la terminologie. Outre les métaphores d’ornement, la langue regorge de metaphors lexicalisées remplissant la fonction dénominative que les terminologues reconnaissent depuis longtemps comme une source importante de termes. De même, la métaphore filée se retrouve couramment dans la langue spécialisée, que ce soit au niveau du lexique ou au niveau du texte, remplissant plusieurs fonctions. L’article se propose d’étudier le rôle de la métaphore filée utilisée à des fins de dénomination dans les terminologies spécialisées de certains domaines (linguistique, informatique, génétique et économie) en tant que catachrèses approuvées par les communautés savantes et légitimées par leur usage terminologique, ainsi que son utilisation dans des textes de vulgarization scientifique, où elle possède une fonction explicative, servant à rapprocher un domaine de spécialité inconnu au travers d’un domaine connu et à rendre intelligible le texte spécialisé au destinataire.

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The present paper seeks to propose, using a combination of psychoanalytic and linguistic thinking, a distinction between three degrees of symbolicity across the somatoform dissociative continuum: the metaphorical, in which there is a symbolic connection between the somatoform phenomenon and the traumatic content, the metonymic, which constitutes a revival of the traumatic experience without the ability to reflect on it, and the psychotic, in which the somatoform phenomenon is experienced as ego-syntonic, thus neither causes distress nor evokes thinking. Three clinical vignettes demonstrate how the higher the degree of symbolization, the more effective the therapeutic process. Finally, a fourth vignette demonstrates how acoustic association in the therapist's countertransference can constitute an antidote to the patient's acoustic dissociation, allowing the reclaiming of the capacity for linking. [ABSTRACT FROM AUTHOR]

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Le présent article revient sur l’étymologie des noms du bourreau en latin et dans les langues romanes et s’interroge sur les moyens lexicaux mis en œuvre dans ces langues pour contourner le tabou qui condamnait au silence les mots le désignant originellement. On y explique ainsi que les langues romanes ont eu recours aux euphémismes créés par des tours périphrastiques, métonymiques ou métaphoriques et par des emprunts à des langues étrangères. On y propose en outre une étymologie nouvelle du latin crux ; l’étymologie de ce mot, obscure jusqu’alors, se révèle être un dérivé inverse du verbe lat. cruciō « mettre en croix, supplicier, torturer, tourmenter ».

ABSTRACT: Metaphor is a figure of speech that involves diverting the literal meaning of a word. This meaning varies across cultures, making it crucial for translators dealing with political discourse to consider this condition for coherence and accuracy in translation. The translator must accurately convey the content and connotations of the metaphor when translating it into another language. However, this process encounters challenges in terms of equivalence, as automatic translation software struggles to capture the connotations and decipher a metaphorical phrase due to the agrammaticality and inconsistency of translated sentences in Arabic. Therefore, before seeking the exact equivalent of a metaphor from a source language to a target language, it is essential to improve the literal translation of expressions. RÉSUMÉ : La métaphore est une figure de style par laquelle on détourne le sens propre d'un mot. Ce sens se diffère d'une culture à une autre. Ainsi, le traducteur, en traduisant une métaphore dans un discours politique, doit prendre en considération cette condition pour que sa traduction soit cohérente et possible. Il doit traduire, correctement, dans une autre langue le contenu et les connotations de cette figure. Néanmoins, cette transposition pose des problèmes au niveau de l'équivalence, les logiciels de la traduction automatique rencontrent des difficultés à connoter et décoder une phrase métaphorique à cause de l’agrammaticalité et de l’incohérence des phrases traduites en arabe. De ce fait, avant de chercher l’équivalent exact d’une métaphore, d’une langue source vers une langue cible, il faut améliorer la traduction littérale des expressions.

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Cet article vise à montrer que la science-fiction, à condition d’être abordée avec un système conceptuel adéquat, est une littérature qui mérite d’être enseignée au secondaire, en particulier au secondaire II. Pour ce faire, nous proposons, dans un premier temps, de définir les notions au cœur de la poétique de la science-fiction : la conjecture narrative sera abordée, puis les relations qu’elle tisse avec la métaphore ricœurienne. Dans un deuxième temps, ce sont les conséquences réflexives de ces mêmes notions qui seront approchées et qui permettront de pointer quelques-uns des avantages pédagogiques de ce genre littéraire : un genre critique qui, par sa capacité à questionner le monde technocapitaliste en se focalisant sur les transformations de la condition humaine induites par ce même monde, permettrait aux enseignants de nouer un dialogue original avec leurs élèves, afin que ces derniers soient à même de réfléchir – via le récit – aux problématiques qu’ils rencontrent au quotidien et de contrer les idéologies déshumanisantes auxquelles ils sont nécessairement soumis.

Purpose: Creative and innovative human resources have a tremendous impact on the survival and improvement of the organization. Management has to pave the way for creativity and innovation. The current research seeks to explain one of the main reasons for the problem of creativity and innovation in some Iran's big-size state-owned enterprises with the help of a metaphor (here, Procrustes' bed metaphor). Methodology: This research has been done descriptively. A questionnaire containing six questions with a Likert scale was designed to investigate the current situation using the help of human resources experts and the Delphi method. Questionnaires were distributed among experts and experts in charge of five big-size state-owned companies, and finally, 124 questionnaires were analyzed descriptively. Findings: The research findings show that the Procrustes bed has become a company desk in the examined enterprises. The freedom of action to present creative and innovative ideas, the possibility of implementing innovative ideas, welcoming new ideas, supportive management, offering rewards to new ideas, and overall satisfaction with the current state are in an unfavorable situation. Originality/Value: Following the social sciences and especially structuring and problem-solving approaches, we believe that knowing the problem is the first and most crucial step in solving a problem. Based on this, we introduced Procrustes' bed metaphor in this research to understand the existing problem. [ABSTRACT FROM AUTHOR]

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In the article "The Felled Tree - Metaphor and Theology: The Dream of the Tree (Dan 4) in the Light of the Prophecy 'Shoot from the Stump of Jesse' (Isaiah 10:33-11:9)", Naama Golan examines the connection between the dream of the tree in Daniel and the prophecy of the "Shoot from the Stump of Jesse" in Isaiah. She describes three stages of development of the metaphor of the felled tree and the theological messages conveyed by the authors. The article shows that Nebuchadnezzar's dream about the tree in Daniel serves as an "internal biblical interpretation" for the prophecy about the "Shoot from the Stump of Jesse". Three stages can be distinguished in the development of the metaphor of the felled tree. Keywords: Isaiah 10-11, Daniel 4, tree, king, metaphor, theology. [Extracted from the article]

قَامت هذهِ الدراسة بتسليط الضوء على أحد الشُّعراء الأيوبيين، وقد قُمنا في هذا البحثِ بدراسة الصورة البيانية للشاعر الملك الأمجد، هو شاعر بليغٌ و جاء البحث لإجلاء الصورة البيانية ومنها: التَّشبيه، والاستعارة، والكناية, وفي البداية تَطرقنا لِسيرتهِ الشخصية, وبعد ذلك ذكرنا أهم أقسام صوره البيانية التي ظَهرت لنا بشكل واسع في شعرهِ, ويُعَدُ الملك الأمجد من الشُعراء الأيوبيين, وهو أحد شُعراء العصر العباسي الثاني, وسُمي بأبي المظفر بهرام شاه بن فروخ شاه بن شاهنشاه بن أيوب بن شادي, لم تَذَكُر المصادر تأريخ ولادتَه ولكنهُ تمَلَكَ بعلبك سنة (٥٧٨ ه) التي يمثل عصر الازدِهار والتقدم الحضاري، إذ ازدهرت الحركة الأدبية ذلك لحب الملوك الأيوبيين للعلم والأدب وتشجيعهم لِدارسيها، وقد نال هؤلاء اهتمامًا كبيرًا من نقاد الأدب ومؤرخي الشعر على مر السنين، وعلى الرغم من وصول الشاعر الملك الأمجد المرتبة الشعرية العالية والجهد الكبير الذي بدلهُ في الشعر والأدب، إِلّا انه لم يُدوّن له شيء من شعره في أول حَياتِه، لقد برزت المواقف الحربية للملك الأمجد في الحروب الصليبية ضد الأفرنج حتى أنَّ كثيرًا من الشُعراء خلّدوا مواقفه الحربية في شِعرهم وذَلك لأهمية وعَظمة ما قام به الملك في الحروب الصليبية. وبالرغم من غزارة الدراسات والبحوث التي تناولت أعلام تلك الحقبة، إلا أنه لم ينل نصيبًا وافرًا من هذه الدراسات مثل غيره ممن هم في مرتبته الشعرية وربما أقل منه شأنًا, وتوفي الشاعر الملك الأمجد في ليلة الأربعاء الثاني عشر من شوال سنة ( ٦٢٨ للهجرة), وتناول ايضا دراسة الشاعر وصوره الشعرية و البيانية التي نظم فيها أوزانه الشعرية, والذي يُعد الحجر الأساس في ديوانه, ومن خلال أبياته وأوزانه وقوافيه, وإيقاعاته الشَّعرية, فقد قَسّمنا الصورة البيانية الى ثلاثة أقسام اعتمادًا على كثرة ورودها في الديوان، بدءً من: ( التَّشبيه, الاستعارة, الكناية) التي تشكل أهم الوسائل اللغوية والحسية في منظومة الصورة البيانية. التشبيه تَعتبر مَصدر اساسي لِلنابع اللغوي عند الشُعراء وخاصة عند ديوان الملك الأمجد, والاستعارة أيضا لا تقلُّ أهمية عن التشبيه ولم يكن مجهولاً عند الشعر العربي, وتأتي في المرتبة الثانية في الصورة البيانية, والكناية هي الطرف الثالث الذي يلجأ إليه الشاعر مع التشبيه والاستعارة, وتعتبر الكناية عند الشعراء فن من فنون البلاغة, ولم يستغنِ عنه الشعراء في شعرهم, ولكونه له أثر كبير في نفس المتلقي, وتأثيراً واضحاً في النص الشعري, نظراً لما يحققه من دلالات معنوية في النصوص الشعرية. واعتَمد البحثُ وفقًا للمنهج التحليلي للأبيات الشعرية لتحقيق الرؤية الشاملة للنّصّ و الكشف عن معانيه المختلفة, وخَتمتُ هذه الدراسة بأهم ّالنتائج التي وصلتُ إليها.

Yasuhiko Sugimura’s review of my book La Religion dans la philosophie (Hermann, 2021) for the present issue of Études Ricœuriennes / Ricoeur Studies affords me an opportunity to return to my intention in this work. I verify the heuristic hypothesis that the complex relationship that Ricoeur’s philosophy established with religion can be explained by a process of secularization [laïcisation] of Ricoeur’s religious convictions. In dialogue with the aforementioned review, I propose to reconsider certain aspects of my criticism of Ricoeur on the question of truth.

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This study is the evaluation of metaphors translated from Divan de Hafez proposed by De Fouchécour in order to have a general vision on the way of use of the metaphor in the two languages French and Persian by the theories of Meschonnic whose we have drawn the most important and also the most useful for our work in his various works, with a view to verifying their way of acting, twisting the meaning, producing effects and thus verifying the common points and the different points of use of the metaphor in these two languages, French and Persian and according to this principle that the work of the translator must have the same quality as that of the author, the objective of this research work is to identify the possible strategies to translate the figures of speech and also we will see the solutions found by De Fouchécour to identify means in the way of the translation of figures of speech. The proposed work is articulated around three parts: the first presents some principles of the ideas of Henri Meschonnic, the second consists of remarks on the figures of speech in French and Persian and the third presents the analysis of the ghazals. [ABSTRACT FROM AUTHOR]

A return to the studies on metaphor has been observed, especially in the French and German languages - Paul Ricoeur (1913-2005), Hans Blumenberg (1920-1996), Anselm Haverkamp (1943-), Katrin Kohl (1956-) are some of the main exponents. This area has already configured a whole field of studies, even receiving its own denomination in these languages. In this paper, we will go through Ricoeur's theory of metaphorical reference, as developed in his seminal The Rule of the Metaphor (1975) and later works. We suggest three foundational ideas for the development of his metaphorology: the constitutive tension of the metaphorical verb to be; the suspension of the literal reference in favor of an unfolded metaphorical reference; fiction as heuristic of the real. We postulate, finally, that the Ricoeurian understanding of metaphor incorporates an extralinguistic element: the imaginative act. We aim, thus, to contribute to a return to the studies of the metaphor and the imaginary in literary theory, examining, with Ricoeur, how metaphor manages to realize: making real the metaphorical reference. [ABSTRACT FROM AUTHOR]

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La dégustation du vin est à la mode. Une nouvelle sensibilité se développe dans le domaine du plaisir des sens en gastronomie et, par la suite, une culture du vin s’étend depuis l’Europe vers le reste du monde globalisé du XXIᵉ siècle. Les publications, les blogs, les programmes de télévision sur la gastronomie, sur les accords des mets et des vins se multiplient. Un nouveau langage s’établit pour décrire les qualités d’un cru qui, parfois, devient incompréhensible pour le consommateur moyen, aussi bien dans les textes de la critique œnologique que dans les notes de dégustation. Notre objectif est, dans un premier temps, de présenter un corpus riche en adjectifs, substantifs et verbes ayant une charge culturelle partagée et servant à la description des vins, provenant de la langue générale, dont le sens a été enrichi grâce au contexte spécialisé du vin. Ensuite, nous définirons les valeurs sémantiques ajoutées à ces vocables moyennant la métaphore et la métonymie. Finalement, nous étudierons les procédés lexicogéniques des néologismes concernant ce champ lexical.

Résumé : Classé parmi les prestigieux noms de la manifestation littéraire au XIXe siècle, E. Zola est sans doute l’une des grandes figures littéraires d’expression française des Temps Modernes. Ce dernier s’avère encore plus intéressant par l’objectif qu’il se fixe quand il s’agit d’écrire. En effet, Zola se montre déterminé à prendre le parti des opprimés et du bas peuple, tout en se voulant témoin actif de son époque. Il entreprend, à la lumière du Naturalisme, de donner une dimension scientifique à la littérature. C’est ainsi qu’il allie observation et expérimentation pour aboutir à ses fins. Son roman Germinal en est la parfaite illustration. Il dénonce à travers la métaphore de la bête, les pratiques et les formes d’aliénation en milieu industriel au cours de la Seconde moitié du XIXe siècle. Il faut le faire observer, la métaphore de la bête n’est pas physiquement concevable. Il faudrait plutôt lui prêter une interprétation stylistique. Elle est la présentation d’une situation de la condition des hommes, une peinture de l’oppression physique et psychologique des individus, par une force dont l’action est en même temps invisible et apparente. Pour plus de précision, lire la bête dans l’œuvre de Zola, c’est finalement saisir à partir d’une allégorie le lien dominant et dominé dans un rapport de production. L’animal, symbolisé par la mine, vient dire toute l’agressivité, l’oppression, l’exploitation des ouvriers par ceux qui détiennent les capitaux.

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This study sheds light on the figurative imagery of the eloquent poet, Al-Malik Al- Amjad, who is one of the Ayyubid poets in the second Abbasid era, when the literary movement flourished as a result of the Ayyubid kings’ passion for science and literature and their encouragement for their scholars . Many of these have gained the attention of literary critics and historians of poetry over the years, and despite his attainment of a high poetic rank and the great effort he expended in poetry and literature, none of his poetry was recorded for him at the beginning of his life. But he was famous for his military attitude in the crusader wars against the Franks. So that, many poets immortalized his military attitudes in their poetry due to the importance and greatness of what he did. Despite the abundance of studies and research that dealt with the figures of that era, he did not obtain a huge share of these studies like others of his poetic rank and, perhaps, less than him. We can say that analogy is considered the main source and linguistic source for poets in that era, especially in the court of Al-Malik Al-Amjad, and metaphor is also no less important than analogy and was not unknown in his poetry, as it comes secondly in his imageries, while metaphor is the third party that the poet used besides analogy and metaphor. The poets did not dispense with it in their poetry, because it has a great impact on the soul of the recipient and a clear influence on the poetic text, and because of the moral connotations it achieves on the poetic texts. The research is based on the analytical approach of poetic verses in all its aspects to achieve a comprehensive vision in revealing and describing these poetic verses in detail. This study is concluded by the results I deduced. [ABSTRACT FROM AUTHOR]

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La description faite ici de la conceptualisation de la notion d’amour s’appuie sur l’analyse de proverbes et de citations français et polonais. La méthode cognitive appliquée est basée sur l’identification des Modèles Cognitifs Idéalisés (des concepts métaphoriques et métonymiques). On a isolé six types de domaines sources : la personne, la notion abstraite, l’objet, l’être animé (non humain), l’universel cosmogonique et l’universel culturel. Les ICMs ont été aussi subordonnés à des types particuliers d’universaux sémantiques. Les hommes comprennent l’amour dans des catégories aussi bien axiologiques que physiques. La plupart des Modèles Cognitifs Idéalisés sont communs aux deux langues. Les Polonais conceptualisent l’amour au moyen de tous les universaux sémantiques, tandis que les Français, un peu plus fréquemment que les Polonais comprennent ce sentiment dans les catégories des universaux culturels. Les paradigmes notionnels forment dans certains cas des constructions complexes, dans lesquelles les ICMs hyponymiques sont subordonnés aux modèles hypéronymiques.

Dans le présent article, nous étudions la créativité stylistique des noms propres afin d’analyser leurs effets de l’engagement identitaire dans la littérature congolaise. L’objectif de l’étude est de procéder à une analyse à la fois linguistique et stylistique sur le sens des noms propres qui existent dans un environnement identitaire. Pour y arriver, nous appliquons les critères analytiques de la linguistique énonciative pour montrer que les écrivains mettent à profit leurs compétences socioculturelles et identitaires au service de la créativité des noms propres de leur personnage. Les résultats d’une telle étude expliquent que les noms propres de personnage sont porteurs d’un message codé et que seuls les usages de l’environnement identitaire peuvent avoir l’accès au sens du message. De plus, ils soulignent que ces noms propres ont une valeur rhétorique ou stylistique, parce qu’ils sont dotés des effets de l’engagement comme l’ironie, la métaphore, la promotion des langues locales et de la culture congolaise. Abstract In this article, we study the stylistic creativity of proper names in order to analyze their effects of identity engagement in Congolese literature. The aim of the study is to conduct both a linguistic and stylistic analysis of the meaning of proper names that exist in an identity environment. To achieve this, we apply the analytical criteria of enunciative linguistics to show that writers use their socio-cultural and identity skills in the service of the creativity of their characters' proper names. The results of such a study explain that character's proper names carry a coded message and that only the uses of the identity environment can have access to the meaning of the message. Furthermore, they point out that these proper names have a rhetorical or stylistic value, because they are endowed with the effects of engagement such as irony, metaphor, promotion of local languages and Congolese culture.

Paranoia is a clinical and cultural phenomenon of the 21st century. From a Jungian lens, paranoia is thought of in two fundamental ways: as a disorder of meaning rooted in the Self, and the insanity of literalism where metaphor is absent. Paranoia, in our current 'civilization in transition', takes the form of a 'tyranny of unification or the curse of the One' promulgated by waves of fear, panic, horror and exclusion towards everything that differs from the supposedly instituted order. As a single fundamentalist truth, paranoia takes root in the public field of politics where self-exhibitionism feeds the delusional paranoid logic that degrades both the personal and collective fabrics. Jungian psychology offers an antidote to paranoia by cultivating and respecting democratic spaces both analytically and in the collective. [ABSTRACT FROM AUTHOR]

English Abstract: This article investigates how poorly monitored relocation programmes of a Chinese hydropower project in Laos have negatively influenced food experiences of resettled villagers as corporeal, social and communal beings. It extends the analysis of recent hydropower resettlement studies that have focused on how dam construction induces food insecurity but paid less attention to the villagers' strategies to tackle food shortages. The point of departure is an anthropological investigation of two prevailing eating phrases in the new settlement: 'eating together' (commensal encounters) and 'eating with the people' (a corruption metaphor in Laos). I argue that many indigent interlocutors have become more food insecure and poorer after their resettlement because their livelihood and food support are inadequately provided, and the 'big people' allegedly steal their financial compensation. This precarious situation has deepened as the new neighbourhood arrangement has halted some commensal or foodsharing practices. This ethnographic analysis of how hydropower-induced hunger is experienced, viewed and confronted from below contributes to ongoing discussions in hydropower resettlement research and food anthropology. French Abstract: Cet article étudie comment les programmes de réinstallation mal suivis d'un projet hydroélectrique chinois au Laos ont influencé négativement les expériences alimentaires des villageois réinstallés en tant qu'êtres corporels, sociaux et communautaires. Il approfondit l'analyse des études récentes sur la réinstallation des populations vivant de l'hydroélectricité, qui se sont concentrées sur la manière dont la construction des barrages induit l'insécurité alimentaire, mais qui ont accordé moins d'attention aux stratégies des villageois pour faire face aux pénuries alimentaires. Mon point de départ est une enquête anthropologique sur deux expressions alimentaires courantes dans la nouvelle colonie : « manger ensemble » (rencontres commensales) et « manger avec les gens » (métaphore de la corruption au Laos). Je soutiens que de nombreux interlocuteurs indigents sont devenus plus pauvres et ont été plongés en situation d'insécurité alimentaire après leur réinstallation parce que leurs moyens de subsistance et leur soutien alimentaire sont insuffisants et que les « grands » leur volent leurs compensations financières. Cette situation précaire s'est aggravée car le nouvel arrangement de voisinage a mis fin à certaines pratiques commensales ou de partage de la nourriture, de sorte que les villageois ont actuellement du mal à manger à leur faim. Cette étude ethnographique contribue aux discussions en cours dans la recherche sur la réinstallation de l'hydroélectricité et l'anthropologie alimentaire. [ABSTRACT FROM AUTHOR]

The “house” appears frequently in the landscape of the New Testament. Seen from many perspectives, it attracts many facets of human life: anthropological, sociological, psychological and even ecological. Here we look at the life of houses, both within and without: at how Jesus in his public ministry gave them priority and how private houses were placed at the service of the spread of the Gospel at the beginning and development of the early apostolic churches. We can then observe that the word and the reality “house” were also used in a metaphorical sense, referring to realities of a higher order. Extending its metaphorical sense further, planet Earth has been recently seen as the “common house” of humans and of all living creatures and the natural world. The metaphor of the “common house” refers to the human, animal, vegetal and natural kingdom, and invites humans to live together harmoniously and respectfully in a house that belongs to them but also to all other beings. [ABSTRACT FROM AUTHOR]

The Renaissance witnessed a proliferation in medical discourse, pedagogical illustration, and popular rhetoric – what I refer to here as "metaphoric botanies" – comparing the human fœtus, or embryo, to a plant. Far from being a mere linguistic inheritance from ancient medicine, such "metaphoric botanies" not only allowed early moderns to conceive of the unobservable development of the human fœtus, but also emphasized the relation of the mother to the unborn child. Much of the "metaphoric botanies" surrounding the fœtus throughout the Renaissance analogize its development to that of a plant "rooting" itself in the mother's uterus, through which it receives sustenance. Though feminist scholarship has made the important argument that such language has historically been utilized in debates surrounding abortion, these "botanies" might also be placed within a certain representational tradition, through which it might be understood as a meditation on species-being and -continuation in a period fraught with epistemological and metaphysical uncertainty. Résumés: La Renaissance a été le témoin dans le discours médical d'une prolifération d'illustrations didactiques et d'une rhétorique populaire d'images comparant le fœtus humain ou l'embryon à une plante. Loin d'être un simple héritage linguistique de la médecine antique, ce que nous appellerons ici botaniques métaphoriques ont non seulement permis aux premiers modernes de concevoir le développement inobservable du fœtus humain, mais elles ont également souligné la relation de la mère à l'enfant à naître. La plupart des botaniques métaphoriques concernant le fœtus tout au long de la Renaissance font l'analogie entre son développement et celui d'une plante qui s'enracinerait dans l'utérus de la mère, par lequel elle reçoit sa subsistance. Bien que la recherche féministe ait avancé l'argument important selon lequel ce langage a historiquement été utilisé dans les débats sur l'avortement, ces botaniques pourraient également être inscrites dans une certaine tradition de représentation, où laquelle elles pourraient être comprises comme une méditation sur l'être et la continuation de l'espèce dans une période chargée d'incertitude épistémologique et métaphysique. Zusammenfassung: Die Literatur der Renaissance zeugt im medizinischen Diskurs, in pädagogischen Illustrationen und in der volkstümlichen Rhetorik von einer starken Zunahme einer sogenannten „metaphorischen Botanik", bei der der menschliche Fötus oder Embryo mit einer Pflanze verglichen wird. Weit davon entfernt, ein bloßes sprachliches Erbe der antiken Medizin zu sein, erlaubte es eine solche „metaphorische Botanik" den Autoren der Frühen Neuzeit nicht nur, sich die unbeobachtbare Entwicklung des menschlichen Fötus vorzustellen, sondern auch die Beziehung der Mutter zu ihrem ungeborenen Kind zu betonen. Ein Großteil der „metaphorischen Botanik", die sich in der Renaissance um den Fötus rankte, verglich seine Entwicklung mit der einer Pflanze, die sich im Uterus der Mutter „verwurzelt" und von ihm ernährt wird. Obwohl die feministische Forschung das wichtige Argument vorgebracht hat, dass eine solche Sprache historisch vornehmlich in Debatten um die Abtreibung verwendet wurde, könnte diese „Botanik" auch in einer bestimmten Darstellungstradition verortet werden, wodurch sie als eine Meditation über das Wesen und Fortbestehen der Spezies in einer von epistemologischer und metaphysischer Unsicherheit geprägten Zeit verstanden werden könnte. 摘要: 在文艺复兴时期的医学论述、教学用插图和大众语汇里，产生出大量的——在此我称为"隐喻性植物学"——之物，将人类的胎儿，或胚胎，类比为一种植物。这种"隐喻性植物学"远非只是某种源自古代医学的语言传承。它不仅使身处早期现代的人们得以想像无法观测的人类胚胎如何成长，同时也强调了母亲与未出生婴儿之间的关联。整个文艺复兴时期里，许多围绕着胚胎的"隐喻性植物学"将其成长类比为在母亲子宫里"扎根"的植物，并依此获得养分。尽管女性主义学者提出了重要的论点，认为这类语言早在历史上堕胎的争论中受到利用，但这种"植物学"也可置于某种再现传统之中。我们可将其理解为在一个认识论和形上学意义上充满不确定性的年代里，对于物种的存－续之事所进行的沉思。 [ABSTRACT FROM AUTHOR]

The article builds on Zbigniew Mikołejko's claim that "the trash mountains" are a convenient metaphor. According to the philosopher, the colloquial phrase allows you to talk about almost everything, but it distances you from empiricism, from authentic rubbish dumps. The author tests the usefulness of this metaphor by analysing the interactions between its parts. They show two symbolic processes: the desacralisation of the mountains and the ennoblement of rubbish. The article focuses on the first one and asks about the images of the hills of the Anthropocene epoch. By interpreting two literary pictures of the trash mountains, an author examines the functioning of that metaphor. In Miron Białoszewski's Chamowo, the Warsaw landfill is terrifying and a sign of loss. However, in Zbigniew Rokita's reportage, entitled Kajś. Opowieść o Górnym Śląsku, an industrial heap that is a mountain made by people, is a deformation of nature that has become a permanent part of the region's landscape. The metaphor of "trash mountains" opens access to ecological issues and becomes a form of involvement in the analysed works. [ABSTRACT FROM AUTHOR]

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In this paper we offer structural draft of poetic style which is based on three descriptive parametars. These are lyrical subject, poetic text and metaphore. Lyrical subject is viewed in the relation to the author and like a derivation of poetic text. Poetic text is based on unity of content and style and metaphore is based on Jakobsonian paradigma like micro-and macrometaphore. These descriptive parametars are distributed in many organisational and projective parametars so that the structural style concept would be analythicaly functional and operational effective in pedagocial and academic study of lyric. Theoretical and methodological frames of this paper are based on linguostylistics, text stylistics, stylistics of the literal media and stylistics of discourse.

Notre article vise à traiter le champ lexical de l’alcool, extrêmement riche dans tout argot, donc dans l’argot roumain aussi. Sans prétendre à être exhaustif, chose pratiquement impossible dans les conditions d’une véritable pléthore de terminologies véhiculées dans ce domaine, nous nous arrêterions à une série de métaphores désignant l’alcool, les plus connues mais surtout les plus surprenantes. Ces métaphores et constructions métaphoriques prouvent que l’inventivité des utilisateurs d’argot est inépuisable. Ainsi, grâce à l’idée profondément enracinée dans la pensée populaire des Roumains, que l’alcool est un médicament, ce que nous avons appelé la « métaphore médicale » est très bien représentée dans l’argot roumain (par exemple, doctorie (de docteur ‘docteur’, ‘médecin’ + suf. -ie) signifie ‘boisson spiritueuse’). Religieux, surtout au niveau déclaratif, les Roumains utilisent également le vocabulaire religieux pour employer des mots auxquels ils attribuent… une signification alcoolique : agheasmă (< sl. agiazma ou ngr. αγιασμα – agiásma) ‘eau bénite’ signifie également ‘boisson spiritueuse’ et fait partie de la « métaphore religieuse ».

Chef du service de gériatrie d’un hôpital parisien, le Pr. A. a pour habitude de produire un objet de référence commun pour décrire la maladie d’Alzheimer à ses patients en recourant à la description d’une maison dont l’escalier endommagé ne permet pas d’accéder aux pièces de l’étage supérieur, symbolisations de leurs facultés intellectuelles préservées. Le médecin mobilise à cet effet diverses ressources sémio-discursives, qu’il combine principalement avec des gestes iconiques à valeur métaphorique, pour accomplir l’activité descriptive et organiser son tour de parole. Ce sens métaphorique réside dans l’incongruité sémantique partielle observable lors de la performance multimodale entre schématisation conventionnelle des gestes et schématisation de l’expression verbale affiliée. Par cette mise en scène verbale et gestuelle, le gériatre cherche à transmettre et faire partager de façon didactique un savoir médical, tout en laissant le patient libre d’accorder crédit à sa métaphore visant à expliquer la maladie dont il est atteint.