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In this article, the contributions of the great figures who lived and created in Central Asia to the art of Uzbek music were highlighted in this article. We tried to thoroughly analyze and illuminate several works written by great figures.

The article is devoted to music dynasties that made a great contribution to the art of Uzbek music, its role and importance in the traditions of the peoples of the East. Today, the study of this issue is widely studied not only by teachers but also by students. Eastern peoples with their rich historical heritage, worldview and centuries-old religious beliefs, dynastic traditions, spiritual and cultural values, which have been absorbed into the bright creations of folk craftsmen, unique lifestyles, scientists and artists. contributed greatly to its development and prosperity. The article discusses the bright representatives of the dynasties who contributed to the music art of Uzbekistan.

Les personnes de confession musulmane en général et les femmes musulmanes en particulier – plus encore celles d’entre elles installées en Occident –, se trouvent face à une situation délicate : elles sont quotidiennement confrontées à des figures hégémoniques. Dans cet article, nous examinons comment ces figures affectent la vie de nos participantes musulmanes canadiennes, et comment ces mêmes figures délimitent, dans une certaine mesure, les discours et actions de nos participantes. Notre réflexion s’ancre dans l’étude de trois archétypes masculins qui ont émergé inductivement lors de nos analyses, à savoir : le Terroriste, l’Homme éclairé et le Patriarche. Ceux-ci apparaissent régulièrement dans les interactions quotidiennes de nos participantes. Nous nous intéressons en particulier à leurs manières de réagir à ces figures : dans certains cas, elles les (re)produisent ou activent des figures féminines qui répondent à ces figures masculines ; dans d’autres, elles se les (ré)approprient et, dans d’autres cas encore, elles décident simplement de se distancer de toutes ces figures dans lesquelles elle ne se reconnaissent pas. Nous suggérons que les modes de (dé)subjectivation de ces femmes s’insèrent dans leurs pratiques qui consistent à faire ou à défaire, à co-construire ou à déconstruire ces figures. Dans tous les cas, elles ne peuvent pas les éviter. À partir de l’analyse d’entrevues qualitatives réalisées avec des femmes s’identifiant comme musulmanes à Montréal et à Saint-Jean de Terre Neuve, cet article s’articule autour de deux objectifs centraux. Premièrement, nous souhaitons mettre en exergue les relations qui existent entre les différentes figures qui se trouvent être, non pas mutuellement exclusives mais plutôt intimement reliées : elles s’activent l’une l’autre. Deuxièmement, nous souhaitons saisir la complexité de la position dans laquelle le sujet féminin musulman se trouve aujourd’hui. L’emphase mise sur les figures masculines agit comme un révélateur des processus mis en oeuvre par les musulmanes canadiennes pour enclencher et entretenir des modes de (re)subjectivation qui leur sont propres., This article examines the experiences of Muslim Canadian women who find themselves in a position in which they are confronted with and haunted by a series of discursive figures. More precisely, we consider how these hegemonic figures affect our female Muslim Canadian participants and how these figures delimit, to a certain extent, their discourses and actions. Feminine figures also exist and circulate in significant ways, but we focus here on three masculine archetypes, which were recurrent in our data that we have named : the Terrorist, the Enlightened Man, and the Patriarch. While masculine figures, they appeared most often in the narratives of the daily lives of our female participants. Specifically, we consider how our female participants engaged with these figures : in certain cases, they (re)produced or (re)activated them, in others they (re)appropriated them, and in others still, they ignored and silenced them. Their hegemony meant that our participants were inevitably impelled to construct, reconstruct and deconstruct these ever-present figures. Drawing on qualitative interviews conducted with self-defined Muslims in Montreal, Quebec and St. John’s, Newfoundland and Labrador, this article makes two arguments in relation to these figures. In the first place, with reference to, and in contrast with, previous theoretical interventions on figures, we trace the relationships between them and show how they are not mutually exclusive ; rather, they activate one another. In the second place, we point to the complexities laden in the positions in which our female participants find themselves. In sum, even if we focus on masculine figures, more generally we engage with them to think more broadly about the fields of power in which Muslim Canadians are forced to engage., Las personas de confesión musulmana en general y las mujeres musulmanas en particular, más aun aquellas instaladas en Occidente, se encuentran ante una situación delicada en la cual están cotidianamente confrontadas a figuras hegemónicas. En este artículo examinamos cómo esas figuras delimitan, en cierta medida, los discursos y acciones de nuestras participantes. Nuestra reflexión se apoya en el estudio de tres arquetipos masculinos que surgieron inductivamente de nuestros análisis, a saber : el Terrorista, El Hombre ilustrado y el Patriarca. Estos aparecen regularmente en las interacciones cotidianas de nuestros participantes. Nos interesamos en particular en las maneras en que nuestros participantes reaccionan ante dichas figuras : en algunos casos, ellas los (re)producen o activan las figuran femeninas que responden a dichas figuras masculinas ; en otros contextos, ellas se las (re)apropian y, aun en otros casos, ellas deciden simplemente de distanciarse de todas esas figuras en las que no se reconocen. Sugerimos que los modos de (des)subjetivación de esas mujeres se insertan en sus prácticas, que consisten en hacer o deshacer, (co)construir o desconstruir esas figuras. En todos los casos, no pueden evitarlas. A partir de un análisis de entrevistas cuantitativas realizadas con mujeres que se identificaron como musulmanas en Montreal y en San Juan de Terranova, este artículo se articula en torno a dos objetivos centrales. Por principio deseamos destacar las relaciones que existen entre las diferentes figuras que no son mutualmente excluyentes sin más bien íntimamente ligadas : la activación de una tiene resonancia en la presencia de la otra. En segundo lugar, deseamos captar la complejidad de la posición en la cual el sujeto femenino musulmán se encuentra actualmente. El énfasis que ponemos en las figuras masculinas funciona como una puerta de entrada a los procesos que realizan las musulmanas canadienses para iniciar y mantener los modos de (re)subjetivación que les son propios.

Shumakova Alla Petrovna – candidate of philology. Russian and French languages dpt. Ivanovo State University of Energy Power of V.I.Lenin. Abstract . The relevance of the study is determined by the lack of work on the analysis of linguistic expressive means of aphorisms by Marcel Proust. The material of the research are aphoristic sayings of ironic character found in the novels of Proust «Jean Santeuil», «La Prisonniere», «Albertine disparue», «A l’ombre des jeunes filles en fleurs», «Sodome et Gomorrhe», «Le Cote de Guermantes», «Le Temps retrouve». Since none of the linguistic resources of imagery is self-sufficient it is considered the most effective for the expression of irony combination means expressive syntax (figures) and figurative means (tropes). Among the means of expressive syntax it is analyzed the use of aphorisms by Proust, like parallel structures, chiasm, antithesis, repetition, poliptota. The most frequent in aphorisms by Proust are metaphors and similes. An important aspect of the study of aphorisms of Marcel Proust is a detailed examination of the arsenal of linguistic means of language pun used to create an ironic effect. The material of the pun became a unit of lexical and syntactic level, forming a paradox, pun, parody and illogic. Through the use of expressive means of expression of irony and their various combinations aphorisms Proust acquired ambiguity, originality, intellectual and emotional capacity. Key words : aphorism, Marcel Proust, irony, expressive means of language, tropes, figures, metaphor, simile, paradox, pun, parody, illogic.

The imitation of several features which have prooved their efficacy in previous texts leads to the consolidation of a repertoire of recognizable elements which configure a literary genre. These “figures” (following Barthes’ definition) are easy to recognize in Calderón’s plays, whose comedias are elaborated as a careful formal play in which recognizable elements are combined, branched and developed in a balance between expected and surprising possibilities. A sampler of these elements in every literary level appears as a condition for the study of its combinations., La imitación en un texto de algunos rasgos que han demostrado eficacia en textos anteriores va solidificando un repertorio de elementos reconocibles que configuran un género literario. Estas “figuras” (siguiendo la definición de Barthes) son reconocibles en el teatro de Calderón, que elabora sus comedias como un cuidadoso juego formal en que elementos reconocibles se combinan, desarrollan y ramifican en un equilibrio entre lo esperable y lo sorprendente. Se propone un muestrario de esos elementos en todos los niveles literarios, como condición para el estudio de sus combinaciones.

Este trabajo se propone analizar el motivo de la aparición de constelaciones -conexiones entre elementos que dan lugar a figuras- en la obra Diez de Juan Emar y Brígida o el olvido de Rosamel del Valle, en la medida que cumplen un papel decisivo en la búsqueda de una realidad otra. El primer elemento del análisis es la línea en la representación del destino humano y la conexión con la otra realidad. Posteriormente, se observa de qué forma se construyen figuras o constelaciones en las obras mencionadas, y cómo se relaciona con el sentido de búsqueda de una realidad otra.

L’oralité est co(n)textuelle et a pu varier selon son domaine d’emploi : ou bien, au début du xxe siècle, le dialogue seul, ce qui la faisait percevoir comme langage populaire, par opposition au langage littéraire de règle dans la narration, ou bien le dialogue et la narration. Les figures de l’oralité dans le roman sont d’une part des figures, morphologiques et syntaxiques, qui se caractérisent d’emblée comme orales, d’autre part des figures, les tropes notamment, dont l’oralité tient au cotexte. L’oralité, ce sont aussi les voix diverses qui s’expriment à travers les figures. Le langage perçu comme populaire tient pour l’essentiel à des figures morphologiques dont l’emploi est codifié et dont la fonction est sociologique et diégétique. L’extension de l’oralité n’a pas entrainé l’uniformisation que l’on pourrait attendre entre narration et dialogue. Dans le roman contemporain, l’oralité tient surtout à des figures de construction et acquiert une fonction stylistique de nature oxymorique qui conserve au langage de la narration la prééminence sur celui des dialogues. Toutefois, l’oralité, de code « populaire » qu’elle était dans le dialogue n’est-elle pas devenue code « littéraire » dans la narration, où, d’un roman à l’autre, elle semble fondée sur quelques mêmes figures ? Orality, being co(n)textual, may have varied according as it was used in dialogue alone, at the beginning of the 20th century, which made it appear as popular language, as opposed to literary language prevailing in narration, or in dialogue and narration. The figures of orality in the novel are, on one hand, figures belonging to morphology or to syntax that are straightaway perceived as oral ; on the other hand figures, mainly tropes, the orality of which comes from the cotext. Orality also consists of the various voices that express themselves through figures. The characteristic of language perceveid as popular comes mainly from morphological figures the use of which is codified, their functions being sociological and diegetic. The spreading use of orality hasn't led to uniformity between narration and dialogue as might have been expected. In contemporary novel, orality stems from construction figures and assumes a stylistic function of an oxymoristic nature thanks to which the language of narration prevails over that of dialogues. Nevertheless, hasn't orality, from the "popular" code it used to be in dialogue, become a "literary" code in narration, in which, from novel to novel, it seems to be based on some identical figures?

Le contexte de l’écriture plate voulue par Annie Ernaux favorise-t-il l’émergence de certaines figures, et réciproquement certaines figures participent-elles à la construction de ce contexte discursif particulier ? Pour répondre à ces questions, l’article resitue l’écriture plate revendiquée par La Place dans un champ stylistique historique et dans une théorisation rhétorique plus large ; puis il montre comment certaines figures construisent le contexte sociolectal que veut donner à voir l’auteur, et enfin comment la recherche de cette écriture plate et distanciée appelle certaines figures. Does the context of the flat writing wanted by Annie Ernaux support the emergence of certain figures of speech, and reciprocally certain figures do they take part in the construction of this particular discursive context? To answer these questions, the article puts the flat writing asserted by La Place in a historical stylistic field and a broader rhetorical theorization; then it shows how certain figures build the sociolectal context that the author wants to give to see, and finally how the search for this flat distanced writing calls certain figures.

Giacometti ’s public squares, or « monuments in reverse ». Giacometti’s first project for a monumental sculpture — Projet pour une place, 1931 — is certainly to be related to the artist’s meeting with the surrealists. From the outset, De Chirico’s paintings had an influence on the surrealists’ conception of the public square and statues. Giacometti accentuates the dialectical relationship between private and public space. Le palais à quatre heures du matin (The palace at four in the morning) of 1923, is a miniature memorial accompanied by the artist’s own commentaries inspired by his personal fantasies. Giacometti also wanted to realise sculptures on a monumental scale, as the examination of his projects, the notes in his sketchbooks and his letters to Pierre Matisse all prove. A work of reflection on the dimensions and the function of the pedestal preoccupied him for several years. His studies for an « immense pedestal » led to a transfer of monumentality from the figure to its surrounding space, the whole public square becoming one monumental pedestal. The author of this article defines two types of public « place » in Giacometti’s work. Giacometti’s projects after the last war did not come to anything, but his project for the Plaza of the Chase Manhattan Bank in New York drew the admiration of the minimalist American sculptor Donald Judd. The author sees Giacometti’s projects as models for the « oriented itineraries » or the « personal museums » of today., Dufrêne Thierry. Les « places » de Giacometti ou le « monumental à rebours ». In: Histoire de l'art, N°27, 1994. Monuments. pp. 81-92.

1. IntroductionIl est d'assez bon ton, à l'heure actuelle, de rejeter unilatéralement toute notion de signification référentielle préétablie, de représentation conceptuelle préalablement mémorisée, associée plus ou moins arbitrairement à un mot ou à une quelconque expression, toute forme de dénomination qui ne serait pas prévisible et calculable en contexte, en fonction des règles générales de la langue et de certains principes interprétatifs. La tendance naturelle en linguistique a d'ailleur...

This essay aims to investigate representations of the city throug angles carefully chosen by professional photographers. Th photographs which are analysed in this work give an answer to th solicitation of showing São Paulo as a megalopolis at the end of th century. The common basis narration of all studied discourses ha revealed the paradoxical and indefinable character of big cities, an their figures expose urban images in permanent construction. Finalb all the evidences points to what is manifested as a flagrant of the ciP provided by the discursive mechanisms of the referent’s poetise. Investigar as representações da cidade em ângulos cuidadosament escolhidos por fotógrafos profissionais é o tema deste ensaio. A fotos analisadas respondem à solicitação de mostrar a cidade de Sã Paulo como uma megacidade no final do século. A base narrativ comum de todos os discursos estudados revela o caráter paradoxal indefinível das grandes cidades, e suas figuras expõem imagen urbanas em permanente construção. Com este trabalho ficar evidenciados os mecanismos discursivos de uma poetização d referente para o que se manifesta como um flagrante da cidade.