Etude de Statistique Lexicale : Accroissement Lexical dans l’OEuvre Littéraire de Julien Gracq مقالة

Le présent travail vise l’examen de l’accroissement du vocabulaire de l’auteur à travers toute sa production littéraire. Ce travail s’inscrit dans le cadre de la statistique lexicale. Il s’agit de déterminer l’apport du vocabulaire au fil du temps : pour un segment déterminé du texte c’est le nombre d’unités nouvelles qui n’avaient pas été employées antérieurement et qui apparaissent dans ce segment. Cette analyse permet de constater que l’apport de nouvelles unités dans la seconde période artistique de l’auteur (1967-1992) est intense par rapport à celui remarqué lors de la première période littéraire (1938- 1967). Aussi, l’apport lexical à travers l’oeuvre de Gracq n’est pas stable puisqu’il change automatiquement à mesure que l’auteur passe d’un genre littéraire à un autre. En effet, on peut constater que la deuxième période artistique de notre auteur Julien Gracq est plus riche que la première et qu'elle connaît aussi un apport lexical plus intense que celui de la première. Le vocabulaire des oeuvres de la seconde période est très particulier. Cela émane principalement du style d'écriture adopté par l'auteur dans la seconde moitié de sa vie littéraire dans la mesure où Lettrines 1 de Julien Gracq a inauguré un style d'écriture qui échappe à une définition classique, il ne semble pas exagéré de penser qu'il renouvelle une forme d'expression originale qui d'autres écrivains emprunteront après lui. A vrai dire, les oeuvres de la seconde période font partie de ce que nous appelons communément la ‘Littérature Fragmentée’ qui se définit comme un ensemble très libre, une mosaïque de mots pour lire, réflexions et souvenirs (souvent de l'enfance).

مقاله حاضر در چارچوب مطالعات امار واژگانی، به بررسی افزایش واژگان در اثار ادبی ژولین گراک می‌پردازد. بررسی‌ها نشان می‌دهد که استفاده از واژگان جدید در دوره دوم هنری این نویسنده (1998-1992) بیشتر و غنی‌تر از دوره اول هنری وی (1967-1938) است. به‌ علاوه، افزایش واژگان در اثار گراک ثابت نبوده و با گذر از ژانری به ژانر دیگر تغییر پیدا می‌کند. در این مقاله خواهیم دید که لغات استفاده شده توسط گراک در دوره دوم هنری، بسیار خاص و ناشی از سبک نوشتاری ویژه‌ نویسنده در این دوره می‌باشد. سبک نوشتاری جدیدی که گراک با نگارش لترین1، ارايه می‌کند، با تعاریف کلاسیک مطابقت ندارد. در حقیقت، اگر بیان کنیم این نویسنده فرم بیانی اصیلی را تجدید نموده است که نویسندگان پس از او، از ان وام می‌گیرند، اغراق نکرده‌ایم. اثار گراک در دوره دوم بخشی از ادبیات به عبارتی «تکه تکه» را شامل می‌شوند که به‌عنوان مجموعه‌ای کاملا ازاد، موزاییکی از واژگان، تاملات و خاطرات (غالبا دوران کودکی) تعریف می‌شود.

Extended abstract— The present work aims to examine the develop process of author's vocabulary throughout his literary production. This work study the framework of lexical statistics. It is a question of determining the contribution of the vocabulary over time: for a given segment of the text, it is the number of new units which had not been used previously and which appear in this segment. In principle, lexical statistics are mainly based on the notion of frequency. Thus, the frequency of words in lexicometric studies is a dynamic character, as important as their meaning or their phonetic figure : the concentration corresponds, at the stylistic level, to the motivation of the author for such use of a word and the dispersion leads to the characterization and specification desired by the author. These two defined characters are likely to provide criteria for the identification of texts and for the analysis of the stylistic use of words and their expressive value, both in the language and in a particular writer. The effectiveness of lexical statistics is having reliable data on the lexicon of a text ; these data are multiple and they can be either digits when it comes to the number of each occurrence of a given text, or percentages which come from the ratio of the number of each occurrence to the set of occurrences of the text, or graphics: representations of a word according to parameters chosen beforehand. All this is achievable by resorting to quantitative statistics, especially the use of the Hyperbase software (developed by Professor Etienne Brunet from the University of Nice Sophia Antipolis in France) which is considered a centerpiece of lexical statistics in recent years. It is then sufficient to submit the computerized literary base to the various functionalities guaranteed by this software in order to have all the necessary lexical quantitative data. Admittedly, the principle of lexical statistics has not changed since its appearance and its position among the branches of linguistics, but we note a great evolution at the level of the processing tools intended for this purpose and in particular the software responsible for this task. In this study we have worked on the entire literary production of Julien Gracq who is one of the masters of contemporary literature in France. Louis Poirier (his real name) or Julien Gracq (professor of geography) was able to mark his writing career without subscribing to any specific literary movement. His literary production, which spanned half a century (1938-1992), encompassed seventeen works and brought together several literary genres, notably literary essays which are richly represented with ten works. Indeed, his production has known two major literary periods: the first period (1938-1967) took surrealism and fiction as a main framework for literary creation while the second period (1967-1992) was focused on fragments of autobiography, reflections on literature and geographic mediations. It is important to underline that the common point between these two artistic periods of the author is the omnipresence of the landscape (fictitious or real) where the edge constitutes for Gracq a springboard which makes pass the intrigue of the story from a closed place (forest or castle), to another open (river or sea). The edge then embodies a climate of expectation or a sort of confused and ambiguous projection into the future. It is to say that, in this work we have to highlight lexical growth or how the vocabulary progresses and regresses through the seventeen works of Julien Gracq which are: (At Argol castle(1938), A beautiful dark ( 1945), Great freedom(1945), The Fisher King (1948), Andre Breton, aspects of a writer (1948), The Shore of Syrtes (1951), Penthesilea (1954), A balcony in the forest (1958), Preferences (1961), Initials 1 (1967), The peninsula (1970), Initials 2 (1974), Narrow Waters(1976), Reading while writing (1980), The shape of a city (1985), Around of seven hills (1988) and Diaries of the great road (1992).) The study of lexical growth determines the contribution of vocabulary over time; this increase is, for a given segment of the text, the number of new units which had not been used previously, which appear in that segment. To perform the necessary lexical growth calculations, we need to slice our corpus. In this study, we will adopt a distribution that follows a so-called natural division of the corpus, that is to say that this division is carried out in relation to the number of works that the corpus contains. Therefore, we will study the lexical growth of Gracq's corpus in seventeen slices where each slice represents one of the works of the author's production. Indeed, the various lexicon growth calculations are made by the Hyperbase software. This also takes care of the graphs and histograms that correspond to each lexical calculation table. The Hyperbase software therefore, first of all, performs the normal lexical growth calculations according to the chronological order of the production of each work in the corpus. Then he calculates the lexical increase of the different parts of the corpus by following a reverse chronological order where he takes the last work of Gracq entitled Diaries of the great road as the starting point of calculation and consequently the first work, At Argol castle, will become the last work to deal with its lexical increase. In short, the analysis of the lexical contribution in Gracq's work allows us to carry out the following interpretations: at the beginning, the contribution of new units in the author's second artistic period (1967- 1992), which begins with the booklet entitled Initials 1, is intense compared to that noticed during the first literary period (1938 -1967) where the increase was above the average except for the significant value of accusation observed in the collection of prose poems: great freedom. Second, the lexical contribution through Gracq's work is not stable since it changes automatically as the author moves from one literary genre to another. Finally, the works in which Gracq describes real landscapes that are encountered during his life have an intense lexical contribution, on the other hand the works that were written within the framework of surrealism are judged to be weak in terms of the contribution of new words. Alain-Michel Boyer in a way justifies our interpretations made at the end of a study of lexical growth through the seventeen texts of Julien Gracq by saying: “But what strikes the reader of Julien Gracq is the singular evolution of a work which, from book to book, from At Argol castle, published in 1938, to Diaries of the great road, published half a century ago. Later, follows a curve, performs a backward course, which leads from a surrealist writing game to a meditation on Rome and which gives an increasingly important role, not only to spatial configurations, but also to real places.” (Boyer 35) Also, the lexical contribution through Gracq's work is not stable since it automatically changes as the author moves from one literary genre to another. Indeed, we can see that the second artistic period of our author Julien Gracq is richer than the first and that it also knows a more intense lexical contribution than that of the first. The vocabulary of works from the second period is very particular. This emanates mainly from the writing style adopted by the author in the second half of his literary life insofar as from Initials 1 Julien Gracq inaugurated a writing style which escapes a classical definition, it does not seem exaggerated to think that he renews an original form of expression that other writers will borrow after him. To tell the truth, the works of the second period are part of what we commonly call "Fragmented Literature" which is defined as a very free set, a mosaic of words to read, reflections and memories (often from childhood).