La poesie comme « Écart ». Quelques considerations sur la « negativite » du

<I><FONT size=1 face="Times New Roman"><FONT size=1 face="Times New Roman"> <P align=left><FONT size=3>Our study is conceived as an analysis of the intentionality of poetic discourse. The first </FONT><FONT size=3>hypothesis postulates the gratuitous nature of this type of discourse which would be deprived of sense </FONT><FONT size=3>and constructed as the result of accident, of lack of logic. Thus, in this case the poetic discourse </FONT><FONT size=3>would be independent from its receivers. On the other hand, Jakobson and the Russian formalists </FONT><FONT size=3>considered that the poetic discourse is an organized structure of the verbal material, meant for a </FONT><FONT size=3>specific public and which has as a unique purpose its own functioning. Poetical writing is </FONT><FONT size=3>characterized by semantic multiplicity, which is different from the common discursive logic; as a </FONT><FONT size=3>result, this discourse demands from the reader a careful decoding. Another theory which has become, </FONT><FONT size=3>in our opinion, a sort of linguistic cliché, is the definition of poetry as a gap, transgression or </FONT><FONT size=3>systematic violation of the linguistic rules. Because of this refuse of norms and of the use of tropes, </FONT><FONT size=3>the definition of the poetic discourse rather implies negative categories. However, our analysis will </FONT><FONT size=3>prove that the apparent “negativity” of poetry can be, at the same time, productive, for example if it </FONT><FONT size=3>contributes to create and emphasize the poetic style, the originality or the aesthetic value of a literary </FONT><FONT size=3>work. Our conclusion is that the poetic discourse does not have a deconstructive aim in itself, but it is </FONT><FONT size=3>meant to fascinate the audience and to bring about a certain poetic state, a state of grace which will </FONT><FONT size=3>help the reader to decode the poem. </FONT></P></I></FONT></FONT>

Angela Carter Demystified : The Employment of the Gothic in Angela Carter’s

<P align=left><FONT face="Times New Roman"><FONT face="Times New Roman"><EM>One of the interesting aspects of Angela Carter&amp;apos;s fiction, which she has used since her </EM><EM>first novel</EM> </FONT></FONT><FONT face="Times New Roman"><FONT face="Times New Roman">Shadow Dance <EM>(1966)</EM></FONT></FONT><FONT face="Times New Roman"><FONT face="Times New Roman"><EM>, is the Gothic. Horrible castles, damsels in distress, dungeons, </EM><EM>disguises, and vampires are just some Gothic elements which permeate her work. Sadism and </EM><EM>Masochism are also elements in Gothic literature which govern the relationship between many of the </EM><EM>above-mentioned characters. Carter is particularly interested in how such relationships can be </EM><EM>dislocated and what they reveal about power structure in the modern society. In her late twentieth </EM><EM>century fiction, Carter critically demonstrates the reversal of values and identifications that occur via </EM><EM>the Gothic mode. Otherness, or to put it more precisely the relationship between self and other, takes </EM><EM>center stage in her work. Sexual transgression, dark desires, and fantastic deviance subvert the </EM><EM>restrictive orders of reason, utility and patriarchal morality. </EM></FONT></FONT></P>