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AbstractBeaulieu's “syntax”, particularly in Variables, is the focus of this article. When Beaulieu's poems are read from the point of view of utterance, as suggested by Henri Meschonnic, it becomes apparent that the rhythmic/semantic pause plays a key role in the poem's organization. Beaulieu is concerned with preserving a certain humanism which is apparent in the fact that he is haunted by death. This no doubt explains why Beaulieu pushes to the extreme what Meschonnic finds in Maurice Scève (the latter is compared to Beaulieu in Georges-André Vachon's afterword to Variables): “the story of a non-subject subject: he”. But Beaulieu also intends “to make a kind of poetry based on sensations”. Thus, the relations in Variables between flesh, body and heart in emotional experience, which create the lyricism of the poem, are studied here in Variables and some poems from Kaléidoscope.

The examination of the production and of the circulation of social identities of « modern » bodies through photographic images is the main subject of the paper. In 20th century Congo, photography is an artefact representing a « modern » person. A new medium, photography allows someone to put on stage his/her new identity and to exercise some degree of control over its circulation. In the last quarter of the 20th century, a few dozens of young women asked Simon Mukunday, a studio photographer, to take photographs of their nude bodies. What happens when women take control of the images of their nude bodies ? What is their purpose when they oppose social norm and what did they do with these images ? Did they wish to satisfy men's desire, or did they use photographic images of their nude bodies as power objects in an effort to gain some control over their social position ?

Keywords: Jewsiewicki, photographie, identité, représentation, corps féminin, objet de pouvoir, République démocratique du Congo, Jewsiewicki, Photography, Identity, Representation, Women's Bodies, Power Object, Democratic Republic of the Congo, Jewsiewicki, fotografía, identidad, representación, cuerpo femenino, objeto de poder, República democrática del Congo

Drawn from the author's master's thesis, this article examines speech in Drames de princesses, a collection of plays by Elfriede Jelinek containing variations on the theme of Death and the Maiden. The analysis is structured around the notion of transpersonalization, developed by Jean-Pierre Sarrazac, in order to highlight the heterogeneity of the discourses that make up each princess's speech. Moreover, the idea of a montage of lines, borrowed from Joseph Danan, helps explain the clash of views between the media discourse and the other discourses throughout the collection. Finally, the use of what Meyerhold called a “concealed inner dialogue” makes it clear that, despite an apparent dialogism, the speech of Jelinek's heroines tends to be more introspective and takes the form of individual soliloquies rather than a genuine exchange between the protagonists.

Erich Przywara admits to have developed his idea of a “metaphysics of creature” in confrontation with M. Heidegger's thinking. We will show how the Jesuit reading of the latter is based on the roots of Heideggerian thought in the discussions of the 1920s around the nature of Kantism. Przywara tries to account for these debates from the tensions existing in the very approach of the philosopher of Königsberg. These will give rise to two ways of interpretation, that Przywara schematises under the traits of a “metaphysics of finitude,” as represented by M. Heidegger, and a “metaphysics of infinity,” in particular with E. Herrigel. According to Przywara, it is from the dialectic between these two paths that the perspective of the analogia entis as metaphysics of creature must arise.

This paper aims to show, through a diachronical study, how concepts imported from Western civilization were named in South-East Asia, through the help of dictionaries and a huge database of ancient Japanese and Korean texts. This study is part of a research project specializing on Korean, Japanese and Chinese neology. The terminology used in this study is indissociable from the sociopolitical context. Neology, first introduced by the missionaries in the 17th century and continued in the 19th century, led to the creation of religious as well as scientific terms. However, for the sake of modernization, it is Japan who contributed the most to scientific neology, first through its contact with the Dutch, and more thoroughly at the period of “the Opening” to the West at the end of the 19th Century. In addition to Japan, other countries followed a parallel evolution in the creation of neologisms using the same processes of lexical creation, but to lesser extents, especially for religious terms and words related to everyday life. However, for scientific terms, the Chinese, Koreans and Vietnamese borrowed heavily from the Japanese, via translation or retranslation of Western works translated into Japanese.The abandonment of Chinese words in favor of Japanese neologisms not only by the Koreans but also by the Chinese themselves, and the preference of the Japanese for phonetic loans can be attributed to the defeat of China in the Sino-Japanese War (1895) as well as by the innovative and attractive nature of Japanese neologisms. Ultimately, for the sake of linguistic identity, the Chinese, and especially the Vietnamese after 1919, conceived their own neologisms.

Keywords: néologisme, emprunt, création lexicale, termes scientifiques, Asie du Sud-Est, neologism, loan word, lexical creation, scientific terms, South-East Asia