As gramáticas normativas, as descritivas e as semânticas assim como outras obras que tratam sobre a negação e sobre a restrição em francês moderno descrevem as expressões \"ne que\", \"sans que\", \"rien que\", \"bien que\", \"autre que\", \"nul autre que\" e \"pour peu que\" em diversos quadros teóricos sem descrever seus valores semânticos, suas naturezas verdadeiras e as funções de \"que\" distinguindo seu valor dos que a ele estão associados. Esse estudo, fundamentado nos princípios da teoria psico-mecânica de Gustave Guillaume (1971, 1973) e expandido pelas considerações semântico gramaticais elaboradas pelo Prof. M. Jacques Ouellet (2004), tenta identificar, compreender e explicar o funcionamento do \"que\" restritivo encontrado nas expressões acima, principalmente na de \"ne... que\". / Prescriptive, descriptive and semantic grammars, as well as other works dealing with negation and restrictions in modern French, describe the expressions ne... que, sans que, rien que, bien que, autre que, nul autre que and pour peu que by a variety of theoretical approaches without describing their semantic values, their very nature and the functions of que. Moreover, these works do not distinguish the value of que from those associated with it. This study, founded on the principles of psico-mechanic theory elaborated by Gustave Guillaume (1971, 1973) and expanded by grammatical semantic studies made by Prof. Jacques Ouellet, M.A. (2004), tries to identify, understand and explain the functioning of restrictive que, found in the above-mentioned expressions, especially in ne... que.

As gramáticas normativas, as descritivas e as semânticas assim como outras obras que tratam sobre a negação e sobre a restrição em francês moderno descrevem as expressões \"ne que\", \"sans que\", \"rien que\", \"bien que\", \"autre que\", \"nul autre que\" e \"pour peu que\" em diversos quadros teóricos sem descrever seus valores semânticos, suas naturezas verdadeiras e as funções de \"que\" distinguindo seu valor dos que a ele estão associados. Esse estudo, fundamentado nos princípios da teoria psico-mecânica de Gustave Guillaume (1971, 1973) e expandido pelas considerações semântico gramaticais elaboradas pelo Prof. M. Jacques Ouellet (2004), tenta identificar, compreender e explicar o funcionamento do \"que\" restritivo encontrado nas expressões acima, principalmente na de \"ne... que\". / Prescriptive, descriptive and semantic grammars, as well as other works dealing with negation and restrictions in modern French, describe the expressions ne... que, sans que, rien que, bien que, autre que, nul autre que and pour peu que by a variety of theoretical approaches without describing their semantic values, their very nature and the functions of que. Moreover, these works do not distinguish the value of que from those associated with it. This study, founded on the principles of psico-mechanic theory elaborated by Gustave Guillaume (1971, 1973) and expanded by grammatical semantic studies made by Prof. Jacques Ouellet, M.A. (2004), tries to identify, understand and explain the functioning of restrictive que, found in the above-mentioned expressions, especially in ne... que.

La série adjectivale est une structure bien connue des lecteurs de Proust. La Recherche comprend plus de trois mille séries adjectivales ; elles combinent deux, trois, jusqu’à dix-sept adjectifs. Les variations sémantiques et syntaxiques sont nombreuses entre les séries. Devons-nous parler de série adjectivale ou de séries, au pluriel ? Quel point commun ont toutes ces séries entre elles ? Peut-on dire que la série adjectivale est une figure de style ?Notre but sera de montrer comment s’articulent ces deux phénomènes stylistiques qui font de la série adjectivale une microstructure complexe : l’effet artiste et le fait de vision. Notre thèse consiste à démontrer que la série adjectivale est un phénomène stylistique, un fait qui ne peut se comprendre qu’en analysant le fonctionnement cognitif d’une vision du monde. Dans une première partie nous analysons la série adjectivale comme un fait de langue, une syntaxe complexe ; dans une seconde partie, nous étudions les effets stylistiques produits par la série adjectivale ; puis nous démontrons que le fait syntaxique est l’expression d’un rapport phénoménologique entre le narrateur et le monde qui l’entoure. / Adjectival series are a well-known by Proust’s readers. We find more than three thousand adjectival series in In Search of the Lost time ; some combine two, three, four adjectives, until seveteen adjectives ; we notice semantical variations and syntactical differences. Should we speak about adjectival series or serie ? What do these series have in common ? Is the adjectival series a stylistic figure ? We want to prove that the adjectival serie is part of these two both stylistics phenomenons which are artistical writting effects and vision of the world. We analyse this stylistic fact according to psychomecanical linguistic, as the expression of an original way to feel. In the first part of research we will show that the adjectival serie is a complex syntactic fact ; in the second part we analyse the adjectival serie as a stylistic effect ; then, we demonstrate that the syntactic fact express a phenomenological link between the narrator and the world.

Notre recherche porte sur la compréhension approfondie de la chronogenèse italienne et, en son sein, de l'expression du futur, selon les principes théoriques et méthodologiques guillaumiens. Notre étude comparative associe les approches diachronique et synchronique. Nous étudions l'évolution de l'expression du futur de l'ancien italien à l'italien contemporain écrits grâce à un 1er corpus construit à partir du texte original du Decamerone de G. Boccaccio, de sa traduction en italien contemporain proposée par A. Busi et de sa traduction en français par J. Bourciez. Nous comparons l'expression du futur dans trois romans graphiques rédigés en italien (par des auteurs originaires de Vénétie et de Sicile) et en français, à l'aide d'une 2e série de corpus extrapolée à partir des transcriptions de ces BD. Nous observons, d'une part, les différences entre le français et l'italien standards contemporains, d'autre part, les réalisations de l'italien standard selon l'influence des substrats régionaux. Grâce à un 3e corpus, nous étudions l'expression du futur en napolitain en comparant les textes de chansons napolitaines du XIXe au XXIe, avec leurs traductions en italien et français standards. Notre confrontation des diverses solutions pour le futur couvre d'Ouest en Est la Romania occidentale (français standard, italien régional de Vénétie), la position centrale qu'occupe l'italien standard issu du florentin littéraire, la Romania orientale (italien régional de Sicile, napolitain). Nous étudions la distribution des formes morphologiques du futur (synthétiques, analytiques), leurs emplois (temporels, modaux) ainsi que les solutions alternatives d'expression du futur (autres temps, CC de temps). Nous discutons les concepts d'aspect, d'accompli et d'inaccompli, de perfectif et d'imperfectif et étudions leur distribution dans les formes morphosyntaxiques de l'expression du futur. / Our research focuses on the deep understanding of the Italian chronogenesis, and within it, of the expression of future, based on the theoretical and methodological principles of G. Guillaume. Our comparative study combines diachronic and synchronic approaches. We study the evolution of the expression of future from former Italian to contemporary Italian literature through a first corpus built from the original text of the Decameron of G. Boccaccio, its contemporary translation proposed by A. Busi and its French translation by J. Bourciez. We compare the expression of future in three Italian (by authors from the Veneto and Sicily) and French graphic novels, with a second series of corpus extrapolated from the transcripts of these comics. We observe, on one hand, the differences between French and Italian contemporary standards, and on the other hand, the achievements of the Italian standard according to its substrates' regional influence. With a third corpus, we study the expression of future by comparing Neapolitan songs texts from the XIXth to the XXth century, with their translations in Italian and French. Our comparison of the various solutions for future covers, from West to East, the western Romania (standard French, Veneto regional Italian), and the central position of the Italian literary standard from Florentine, Eastern Romania (Sicilian regional Italian, Neapolitan). We study the distribution of future's morphological forms (synthetic, analytic), uses (temporal, modal) and alternative expression of future (other times, adverbial phrase of time). We discuss the concepts of aspect, accomplished and unaccomplished, perfective and imperfective and study their distribution in the morphosyntactic forms of future's expression.