Les dialogues dans Zazie dans le métro de Raymond Queneau

Annali di Ca’ Foscari. Serie Occidentale. 2017;51(1) DOI 10.14277/2499-1562/AnnOc-51-17-1

 

Journal Homepage

Journal Title: Annali di Ca’ Foscari. Serie Occidentale

ISSN: 2499-2232 (Print); 2499-1562 (Online)

Publisher: Edizioni Ca’ Foscari

Society/Institution: Ca'Foscari University of Venice

LCC Subject Category: Language and Literature: Philology. Linguistics: Language. Linguistic theory. Comparative grammar

Country of publisher: Italy

Language of fulltext: English, Dutch; Flemish, Italian, Spanish; Castilian, French, German, Portuguese, Russian

Full-text formats available: PDF

 

AUTHORS

Ardenghi, Fulvia (Università degli Studi di Trieste, Italia)

EDITORIAL INFORMATION

Double blind peer review

Editorial Board

Instructions for authors

Time From Submission to Publication: 32 weeks

 

Abstract | Full Text

Raymond Queneau’s Zazie dans le métro (1959) can be considered a behaviourist novel. Characters are barely outlined and look like puppets who spend their lives in a frantic rhapsody. However, the construction of the dialogic exchanges among characters is very refined ; this seems mostly aimed at a realistic effect, giving priority to the expressiveness of oral language. We have the impression that sometimes the primary narrator’s discourse is tainted by the characters’ speech ; the narrator does not only seem to describe events as they happen, but he also participates empathically in the narrative. At times, he seems to experience the same irrepressible urge for verbal communication of his characters. This paper explores the results of the encounter between the narrator and the characters’ discourses, particularly the stylistic devices creating an effect of increased realism. From time to time, this contamination generates an effect of ambiguity in the enunciative reference. Queneau was undoubtedly aware of this ambiguity, given his inclination to the structured shapes of literature, the so-called ‘framework’, which is an essential condition of his art making.