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Michel Ferlus and the Lai Pao Script
No full textInternational audienceAmong the five known Tai writing systems in Vietnam, the Tay Mương1 community in Tương Dương district, Nghệ An province, has maintained a distinct script known as Lai Pao or Liệp Nặm. By the end of the 20th century, this writing system had fallen into near complete disuse and had never been systematically studied. One of the few early references to this script appears in the Dictionnaire laotien-français (1912) by Father Théodore Guignard, who briefly mentioned a script called Liệp Nặm used by the Tay Mương people in Tương Dương. However, it was not until 1995, motivated by this dictionary entry that Michel Ferlus, in collaboration with Trần Trí Dõi, embarked on fieldwork to investigate the existence and characteristics of the writing system referred to as Thái Lai Pao. Based on handwritten manuscripts dating back to the late 19th century still preserved within the community, Ferlus reconstructed the script, analyzed the correspondence between the phonological system of Thái Lai Pao and its orthographic representation, and published several foundational studies that contributed to a better understanding of Tai script variants in Vietnam. Notably, these studies not only hold scholarly value but also laid the groundwork for the Tay Mương community in Nghệ An to revive and incorporate the Lai Pao script into teaching practices beginning in 2005. This article examines the process of reconstructing the Lai Pao script through the works of Michel Ferlus and his collaborators. It also compares Ferlus’s descriptive system with current community usage, ultimately assessing the scholarly legacy of Ferlus in bridging linguistic research with the preservation and revitalization of written heritage
Anthropologie du langage
No full textCette entrée présente un aperçu du développement des recherches en anthropologie du langage depuis la fondation de la discipline, ainsi qu'une présentation de plusieurs questions clés actuellement en débat dans le champ
Dans mon livre, la majorité n’existe pas: Entretien avec Kaoutar Harchi
No full textInternational audienceIn this interview about her book Comme nous existons (Actes Sud, 2021), Kaoutar Harchi talks to Mathilde Roussigné about her relationship with autobiography and fiction; the reception of French writers from postcolonial immigration; her relationship with Annie Ernaux and her ambition to “venger sa race”; her desire for “humble” writing, as well as the criticisms that may have been levelled at the class defector’s narratives.Dans cet entretien autour de son livre Comme nous existons (Actes Sud, 2021), Kaoutar Harchi revient aux côtés de Mathilde Roussigné sur sa relation à l’autobiographie et à la fiction ; sur la réception des écrivains français issus de l’immigration postcoloniale ; sur son rapport à Annie Ernaux et son ambition de « venger sa race » ; sur son désir d’une écriture « humble », ainsi que sur les critiques qui ont pu être adressées aux récits de transfuge
Fishing for Wordswith Beschi in Tamil Traditional Poetical Vocabularies
No full textInternational audienceThis article proposes a dive into a subset of BnF manuscripts containing traditional nikaṇṭus and missionary dictionaries. It takes as starting point Indien 227, a manuscript of Costanzo Giuseppe Beschi (1680–1747)’s Tamil-Tamil dictionary Caturakarāti, which was copied in 1732. This manuscript contains a long Latin preface explaining in detail Beschi’s involvement and reorganization of traditional Tamil lexicographical knowledge. In this article, we offer the first diplomatic transcription and English translation of this preface, and analyze its contents in order to contextualize Beschi’s intellectual enterprise in the Caturakarāti.Taking the word for pearl as our fil rouge, we explore the Caturakārati, its Latin models and the Tamil nikaṇṭus on which it was based, to highlight what seem to us to be the two main choices made by Beschi. These choices show the extent to which his work as a lexicographer was in dialogue with the Tamil tradition, while introducing important changes and innovations. The first choice was to create a dictionary following the alphabetical order, which had played a marginal role in the world of Tamil lexicography until then. This completely subverted the mode of consultation required by traditional nikaṇṭus, which was based on their thematic organization and their memorization. The second choice was to make a dictionary of poetic Tamil, which forced him to retain another organizing principle of Tamil nikaṇṭus, namely the separation between a thematic section, containing synonyms and a polysemic section ― a key distinction for anyone interested in writing or understanding Tamil poetry. While keeping this, Beschi also systematically added periphrases to explain rare non-polysemic words, another (almost-)innovation that paved the way for the development of modern Tamil lexicography
Lieux du possible, lieux du virtuel
No full textInternational audienceIn this article, we examine the role of place in the virtual, the tension between concrete place (site)and virtual. Our starting point is the role Deleuze gives to place in Différence et répétition :place can be found in the space between “possible” and “virtual”, as Deleuze defines them.The next step is to explore in greater detail the notion of place, not the place of representationon screen, but the concrete site of experience: the theater room (in general). The aim is toconfront the Deleuzian perspective with this thickness of place through a traditional film –inthe sense that it is not an installation or an interactive film– and then to sketch out a reflectionto grasp the relationship between place and virtuality with regard to what we call “virtualimages” (webfilm, virtual reality experience).Dans cet article, nous étudions la part du lieu dans le virtuel, la tension entre lieu concret etvirtuel. Nous partons de la place que Deleuze donne au lieu dans Différence et répétition : le lieupeut se loger dans l’espace qui existe entre « possible » et « virtuel », tels que Deleuze les définit.Il s’agit ensuite d’explorer plus en détail la notion de lieu, non pas le lieu de la représentationà l’écran, mais le lieu concret de l’expérience : la salle (en général). Il s’agit de confronter la pers-pective deleuzienne à cette épaisseur du lieu à travers un film traditionnel – au sens où ce n’estpas une installation ou un film interactif - puis d’esquisser une réflexion pour saisir la relationentre lieu et virtuel à propos de ce qu’on appelle des « images virtuelles » (webfilm, expériencede réalité virtuelle)
Le délit d'obsolescence programmée : coquille vide ou « boîte de Pandore » ?
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Petite femme au grand courage : archéologie(s) d’une figure invisibilisée de la Cinquième Expédition de Thulé (1921-1924)
No full textInternational audienceEtude comparée de deux ouvrages : le roman *La fille du grand hiver* d'Isabelle Autissier et *Arnarulunnguaq* de Pauline Knudsen. Une navigatrice française et une archéologue groenlandaise s'intéressent de manière concomitante à une figure féminine oubliée de l'histoire de l'exploration de l'Arctique : pourquoi et comment