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learning > grammaire anglaise - niveau avancé

 

temps, formes verbales

 

groupe verbal

 

présent simple, actif affirmatif

 

sens, effets, valeurs énonciatives

 

information "qui tombe",

inédite, factuelle, brute,

sans commentaire

 

 

TALIBAN SEIZE AFGHANISTAN;

 

U.S. SCRAMBLES

TO EVACUATE  AMERICANS

(toviseur -> Base Verbale)

 

 

 

August 16, 2021.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

AFGHANISTAN GOVERNMENT COLLAPSES

 

 

 

 

August 15, 2021.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

TALIBAN FORCES ENTER KABUL

 

 

 

August 15, 2021.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


Mark Trail   
Jack Elrod    Created by Ed Dodd    21 October 2004

http://www.kingfeatures.com/features/comics/mtrail/about.htm

 

 

 

 

 

 

 

 

 

 

 

 

 

 


Mark Trail       
Jack Elrod        Created by Ed Dodd        4 July 2004

http://www.kingfeatures.com/features/comics/mtrail/about.htm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Avec le présent simple,

l'énonciateur / l'énonciatrice

se veut informatif,  descriptif,

analytique, objectif, impartial,

invisible, presque anonyme

(ce qui n'interdit pas

un effet emphatique, théâtral

ou dramatique ) :

 

 

I waspassé guarding the house,

see...

 

All of a sudden

two eyes comeprésent simple at me

out of the darkness

 

Dans l'énoncé ci-dessus,

le présent simple a valeur de passé

théâtral / extraordinaire,

à l'inverse du passé en be + -ing,

qui exprime le continuum, la routine,

l'ordinaire.

 

 

 

 

Peanuts

Charles Schulz

GoComics

August 07, 2024

https://www.gocomics.com/peanuts/2024/08/07

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

FBI agent Larry Morgan wastes no time

coming to the point of his visit...

 

My information indicates

your mother left a large sum of money with you,

Danny!

 

 

 


Steve Roper and Mike Nomad    Fran Matera    16 September 2004

http://www.kingfeatures.com/features/comics/sroper/about.htm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A l'inverse,

be + -ing

marque un énonciateur-observateur

impliqué, qui commente, déduit,

dit, dialogue.

 

 

Dans les 3 cases ci-dessous,

tous les éléments

participent à une histoire,

même la pie, "soupçonnée"

d'avoir pris un collier précieux

sur le site d'un accident d'avion.

 

 

On retrouve ici

la valeur de gros plan discursif

de be + -ing,

renforcée graphiquement

par les jumelles

et par les deux gros plans

sur Mark Trail :

 

I think that magpie is interested...

it's acting like it's going to...

 

Oh no, it's flying away!

 

Hello, Trail...

surprised to see me?

 

What are you doing up here?

 

 


Mark Trail    Jack Elrod    Created by Ed Dodd    31 May 2005

http://www.kingfeatures.com/features/comics/mtrail/about.htm

 

 

 

 

 

 

 

 

 

 

 

 

 

A l'inverse,

l'information au présent simple

- ci-dessous dans les carrés jaunes -

peut ne s'inscrire

dans aucun dialogue,

ne s'adresse pas

à un-e protagoniste.

 

Ce co-énonciateur "virtuel",

ce n'est pas un personnage de l'histoire,

c'est le lecteur / la lectrice :

 

 


Steve Roper and Mike Nomad    Fran Matera    29 September 2004

http://www.kingfeatures.com/features/comics/sroper/about.htm

 

 

 

 

 

 

 

 

 

 

 


Mark Trail    Jack Elrod    Created by Ed Dodd

5.4.2005 / 6.4.2005 / 7.4.2005 /  8.4.2005 /

9.4.2005 / 11.4.2005 / 12.4.2005 / 13.4.2005

http://www.kingfeatures.com/features/comics/mtrail/about.htm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Celle / Celui qui énonce au présent simple

se présente avant tout

comme une voix impartiale, objective, un oeil :

voir la description de Mars par un astronome.

 

 

Cette voix n'a besoin de personne pour exister.

Enonciateur et co-énonciateurs

ne peuvent d'ailleurs ni se voir, ni s'entendre.

 

 

Celui qui reçoit est ici spectateur muet, passif.

 

 

L'énonciateur ne cherche nullement

à l'impliquer, ni à s'adresser à lui en personne :

lui ou un autre, peu importe.

 

 

Celui qui lit ou écoute n'a d'ailleurs pas la parole,

puisqu'il ne peut répondre.

 

 

La forte relation énonciateur / co-énonciateur,

valeur majeure des énoncés en be + -ing,

est ici absente.

 

 

Même dans les "commentaires" sportifs

- qui sont des descriptions -

l'énonciateur, pour enthousiaste qu'il soit,

ne se met pas en avant

et ne cherche pas à impliquer l'autre,

dans le sens de le faire entrer dans le discours.

 

 

L'action parle pour elle-même,

le discours univoque se suffit à lui-même.

 

 

L'énonciateur reste au présent simple

pour décrire ce qui se passe,

et ne commente que rarement l'action

(avec  be + -ing).

 

 

Si commentaire il y a,

il s'inscrit souvent dans le cadre d'un dialogue,

avec un invité ou un autre journaliste :

 

 

 

 

Popeye        Hy Eisman        22 August 2004

http://www.kingfeatures.com/features/comics/popeye/about.htm

 

 

 

 

 

 

 

 

 

  

 

 

 

 

Le présent simple donne du réel

une impression photographique, cinématique

(découpage à la Muybridge).

 

 

La réalité est perçue et / ou présentée

comme une photo, une image

dans laquelle les locuteurs ne peuvent pas,

ne doivent pas intervenir (interdit).

 

 

Il s'agit d'une présentation première, inédite.

Il n'y a pas,

comme dans nombre d'énoncés en be + -ing,

de re-présentation.

 

 

Les légendes de photographies de presse,

lorsqu'elles sont descriptives et ne commentent pas l'image,

sont d'ailleurs souvent au présent simple,

même si elles comportent un marqueur de temps passé :

 

 

 

 

 

A New York Mercantile Exchange trader

shouts and signals an order

[ présent actif affirmatif ]

across a trading pit early in the trading day,

October 6, 2004 in New York.

 

Oil prices neared $52 for U.S. crude,

[ passé actif affirmatif ]

fueled by the impact of Hurricane Ivan

on U.S. winter inventories.

 

Oil has surged more than 55 percent

since the start of the year,

[ présent perfect actif affirmatif ]

driven by the strongest demand growth in a generation

and a thinning cushion of spare production capacity

to cope with supply outages.

R

6 October 2004

http://photos.reuters.com/pictures/ViewImage.aspx?type=
News&currentPicture=0&photoName=galleries/newspictures/
2004-10-06T155200Z_01_NYK808_RTRIDSP_2_MARKETS-NYMEX-ENERGY.jpg

 

 

 

 

 

 

 

 

 

A 16-year-old Bill Clinton

shakes hands with President John F Kennedy

at the White House in 1963

Kill Bill (volume one), I, p. 29, 10.10.2003.

 

 

 

 

 

Chris Patten walks in procession to be sworn in

as Oxford University chancellor yesterday.

GI, p. 9, 26.6.2003.

 

 

 

 

 

Emotional farewell for Messier

as he leaves Vivendi's headquarters in Paris

last year.

GI, p. 14, 26.6.2003.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Il y a des exceptions

(surtout dans la presse américaine),

où les légendes sont parfois

au passé :

 

 

 

 

President Bush watched

[ passé actif ]

Secretary of State Condoleezza Rice walk through a receiving line

[ base verbale non conjuguée >

structure WATCHED + Base Verbale ]

at a state dinner in New Delhi Thursday.

 

The president is on his first visit to India,

and is to continue on to Pakistan tonight.

 

Photograph: Jim Young

Reuters

 

In India,

Bush Urges Americans to Welcome Global Competition

NYT

March 3, 2006

https://www.nytimes.com/2006/03/03/
international/asia/under-tight-security-bush-arrives-in-pakistan.html

 

 

 

 

 

 

 

 

 

 

 

 

 

Dans les journaux et les dépêches,

les titres informatifs sont souvent

au présent simple.

 

 

Le journaliste est ici un énonciateur en retrait.

 

 

Il ne prend pas part à l'action

(comme c'est parfois le cas pour des reporters

pris dans "le feu de l'action"),

il ne fait qu'enregistrer, transcrire, transmettre.

 

 

Il n'y a pas de voix narrative :

tout journaliste utiliserait à peu près les mêmes mots,

et dans presque tous les cas le présent simple,

pour donner un instantané des événements :

 

 

Bomber kills 20 in holiday horror

· Palestinian woman launches suicide attack

on crowded Haifa restaurant

· Israel hits back with missile strikes on Gaza

after Yom Kippur atrocity

O,
5.10.2003.
https://www.theguardian.com/world/2003/oct/05/
israel 

 

 

 

 

 

Fighting rages in Chechnya

PA, 26.9.2003.

 

 

 

 

 

Bomb explodes at UN in Baghdad

PA, 22.9.2003.

 

 

 

 

 

Palestinian militants offer 3-month truce

GI, p. 10,
26.6.2003,
https://www.theguardian.com/world/2003/jun/26/
israel 

 

 

 

 

 

Civilians flee

as rebels advance in Liberia's capital

G,
26.6.2003,
https://www.theguardian.com/world/2003/jun/26/
westafrica.jamesastill 

 

 

 

 

 

Japan freezes aid to Burma

to force junta to release Suu Kyi

G,
26.6.2003,
https://www.theguardian.com/world/2003/jun/26/
burma.johnaglionby 

 

 

 

 

 

 

 

 

 

Au présent simple,

lorsque l'énonciateur / l'énonciatrice parle et agit

(cuisinière, magicien, etc.),

il n'est souvent qu'un exécutant :

un-e autre ferait presque les mêmes gestes,

dans le même ordre.

 

 

Les énoncés

du chef qui détaille sa recette à la télévision,

ou du prestidigitateur qui fait son numéro,

sont souvent au présent simple.

 

 

L'énonciateur est bien celui qui parle / écrit,

mais ce pourrait être un autre,

l'énoncé - dépersonnalisé - serait presque le même,

et resterait au présent simple.

 

 

 

 

 

 

 

 

 

présent simple

 

sens / effets / valeurs

 

irréalité, étrangeté

 

 

 

Lorsque l'énonciateur n'est pas un simple figurant du discours,

et qu'au contraire il veut exprimer l'extraordinaire d'une situation,

le présent simple irréalise l'action, intensifie les sensations,

dépersonnalise les voix narratives.

 

 

L'extraordinaire, l'étrangeté de la situation

sont mis en relief,

avec toute une palette d'effets énonciatifs :

anormal, surréel,

vérisme, cubisme, nature morte,

décomposition / fragmentation,

prisme.

 

 

Outside, the dusty yard is checked with bright,

white squares of noon sun and blocks

of black shade full of mosquitoes.

Old women sell hard-boiled eggs and dried fish.

The toilets reek of stale urine.

Inside, patients line the corridor of the clinic.

Each clutches an orange binder with their notes.

They sit very still and wait.

Nhem Sokunthea,

24 years old and four months pregnant,

sits on a bench near the door

with her palms folded over her swollen belly

and her eyes on the floor.

She has put on her best clothes

- and borrowed the bus fare -

for the visit to the hospital.

Her story is harrowing

- and familiar to many in Cambodia.

HIV infection rates in the country of 12 million people

are just under 3 per cent, the highest in Asia.

Almost everyone sitting in the clinic corridor

has the virus.

Aids, the new killer in the fields:
A nation still recovering from years of political bloodletting,
Cambodia is being weakened by a new scourge,
O, 17.10.2004,
https://www.theguardian.com/world/2004/oct/17/
aids.cambodia

 

 

 

 

 

D'où un effet de rêve éveillé, d'étrangeté, de vertige :

est-ce bien moi qui parle ?

suis-je bien "en train de" faire ce que je fais ?

 

On rencontre parfois ces voix fantômatiques chez Dickens :

   

There is probably a smell of roasted chestnuts and other good comfortable things all the time, for we are telling Winter Stories-- Ghost Stories, or more shame for us--round the Christmas fire; and we have never stirred, except to draw a little nearer to it. But, no matter for that. We came to the house, and it is an old house, full of great chimneys where wood is burnt on ancient dogs upon the hearth, and grim portraits (some of them with grim legends, too) lower distrustfully from the oaken panels of the walls. We are a middle-aged nobleman, and we make a generous supper with our host and hostess and their guests--it being Christmas-time, and the old house full of company--and then we go to bed. Our room is a very old room. It is hung with tapestry. We don't like the portrait of a cavalier in green, over the fireplace. There are great black beams in the ceiling, and there is a great black bedstead, supported at the foot by two great black figures, who seem to have come off a couple of tombs in the old baronial church in the park, for our particular accommodation. But, we are not a superstitious nobleman, and we don't mind. Well! we dismiss our servant, lock the door, and sit before the fire in our dressing-gown, musing about a great many things. At length we go to bed. Well! we can't sleep. We toss and tumble, and can't sleep. The embers on the hearth burn fitfully and make the room look ghostly. We can't help peeping out over the counterpane, at the two black figures and the cavalier--that wicked- looking cavalier--in green. In the flickering light they seem to advance and retire: which, though we are not by any means a superstitious nobleman, is not agreeable. Well! we get nervous-- more and more nervous. We say "This is very foolish, but we can't stand this; we'll pretend to be ill, and knock up somebody." Well! we are just going to do it, when the locked door opens, and there comes in a young woman, deadly pale, and with long fair hair, who glides to the fire, and sits down in the chair we have left there, wringing her hands. Then, we notice that her clothes are wet. Our tongue cleaves to the roof of our mouth, and we can't speak; but, we observe her accurately. Her clothes are wet; her long hair is dabbled with moist mud; she is dressed in the fashion of two hundred years ago; and she has at her girdle a bunch of rusty keys. Well! there she sits, and we can't even faint, we are in such a state about it. Presently she gets up, and tries all the locks in the room with the rusty keys, which won't fit one of them; then, she fixes her eyes on the portrait of the cavalier in green, and says, in a low, terrible voice, "The stags know it!" After that, she wrings her hands again, passes the bedside, and goes out at the door. We hurry on our dressing-gown, seize our pistols (we ascsays travel with pistols), and are following, when we find the door locked. We turn the key, look out into the dark gallery; no one there. We wander away, and try to find our servant. Can't be done. We pace the gallery till daybreak; then return to our deserted room, fall asleep, and are awakened by our servant (nothing ever haunts him) and the shining sun. Well! we make a wretched breakfast, and all the company say we look queer. After breakfast, we go over the house with our host, and then we take him to the portrait of the cavalier in green, and then it all comes out. He was false to a young housekeeper once attached to that family, and famous for her beauty, who drowned herself in a pond, and whose body was discovered, after a long time, because the stags refused to drink of the water. Since which, it has been whispered that she traverses the house at midnight (but goes especially to that room where the cavalier in green was wont to sleep), trying the old locks with the rusty keys. Well! we tell our host of what we have seen, and a shade comes over his features, and he begs it may be hushed up; and so it is. But, it's all true; and we said so, before we died (we are dead now) to many responsible people.

A Christmas Tree,
Charles Dickens,
http://library.educationworld.net/clas10/sc11pg3.html - broken link

 

 

 

 

 

Dream: I am skating on a disco board, flexi-metal and light pink with the grip tape going down the centre. Sailing down a hill that never ends but curves around islands of tree-filled parks, my hair billows behind me and brushes past my face as I swerve around each curve. My friends and family watch and cheer. There is no rush, and every movement seems to be caught in a single flow. My skateboard moves with the slightest turn of my hips. At the end of the hill, there is a 10-foot vertical ramp that I drop into, leaning forward, knees loose and slightly bent. Hips and knees guiding the board upward and downward, my hands are up in the air with the breeze slipping through my fingers.

On the board, I could be the kind of girl I wanted to be:
Soo Lee Young on how learning to skateboard transformed her life,
GI/G2,
p. 8,
26.6.2003.

 

 

 

 

 

I decide to try.

Many things are the same.

The sky is a poignant blue.

The trees are turning,

each scarlet leaf like a little hand falling down

on our green autumn lawn.

"You're what?" my husband says to me.

"I'm going to try it," I say.

"Repeat the experiment exactly

as Rosenhan and his confederates did it,

and see if I get admitted."

"Excuse me," he says,

"don't you think you have your family to consider?"

"It'll never work," I say,

thinking of Spitzer. "I'll be back in an hour."

"And suppose you're not?"

"Come get me," I say.

I do my preparations. I don't shower or shave for five days. I call a friend with a renegade streak and ask if I can use her name in lieu of my own, which might be recognised. The plan is to use her name and then have her, later, with her licence, get the records so that I can see just what has been said. This friend, Lucy, says yes. She should probably be locked up. "This is so funny," she says.

I spend a considerable portion of time practising in front of my mirror. "Thud," I say, and crack up, no pun intended. "I'm, I'm here ..." - and now I feign a worried expression, crinkled crow's-feet at my eyes - "I'm here because I'm hearing a voice and it's saying thud", and then, each time, standing in front of this full-length mirror, smelly and wearing a floppy black velvet hat, I start to laugh. If I laugh, I'll obviously blow my cover. Then again, if I don't laugh, and if I tell the whole truth about my history save for this one little symptom, as Rosenhan and company did in the original experiment, well, then I might really go the way of the ward. There is one significant difference in my re-test setup. None of Rosenhan's folks had any psychiatric history. I, however, have a formidable psychiatric history that includes lots of lock-ups, although, really, I'm fine now.

I kiss the baby goodbye. I kiss my husband goodbye. I haven't showered for five days. My teeth are smeary. I am wearing paint-splattered black leggings and a T-shirt that says, "I hate my generation."

"How do I look?" I say.

"The same," my husband says.

I drive there. I have chosen a hospital miles out of town with an emergency room set up specifically for psychiatric issues. I have also chosen a hospital with an excellent reputation, so factor that in. It is on a hill. It has a winding drive. In order to enter the psych ER, you must stand in front of a formidable bank of doors in a bustling white hallway and press a buzzer, at which point a voice over an intercom calls out, "Can I help you?"

I say, "Yes."

The doors open. They appear to part without any evidence of human effort, to reveal a trio of policemen sitting in the shadows, their silver badges tossing light. On a TV mounted high in one corner, someone shoots a horse - bang! - and the bullet explodes a star in the fine forehead, blood on black fur.

"Name?" a nurse says, bringing me to a registration desk.

"Lucy Schellman," I say.

"And how do you spell Schellman?" she asks.

I'm a terrible speller and I hadn't counted on this little hurdle;

I do my best. "S-H-E-L-M-E-N," I say.

The nurse writes it down, studying the idiosyncratic spelling.

"That's an odd name," she says. "It's plural."

"Well," I say, "it was an Ellis Island thing.

It happened at Ellis Island."

She looks up at me and then scribbles something I cannot see on the paper. I'm worried she's going to think I have a delusion that involves Ellis Island so I say, "I've never been to Ellis Island - it's a family story."

"Race," she says.

"Jewish," I say.

Into the cuckoo's nest:
Thirty years ago psychiatry was rocked
by the revelation that nine sane volunteers had faked hearing voices
and fooled thier way on to locked wards.
Has diagnosis improved since?
Psychologist Lauren Slater repeats the experiment,
G, 31.1.2004,
http://www.guardian.co.uk/
weekend/story/0,3605,1134105,00.html - broken link

 

 

 

 

 

 

 

 

 présent simple

 

sens et valeurs énonciatives >

fiction du jamais-dit

 

 

 

Postulat de l'énoncé au présent simple :

ce que je dis ne dépend pas / plus de moi,

même si je suis en train de faire ce que je décris.

 

 

Ce postulat peut se doubler d'une fiction,

celui de "la première fois" :

 

même si le magicien a déjà fait

son numéro des centaines de fois,

il le présente comme du jamais-vu, de l'inédit.

 

 

Le présent simple est un découpeur,

un effaceur, un "fascinateur" :

il découpe le temps énonciatif / chronologique,

efface toute référence au passé, même immédiat,

focalise le co-énonciateur sur l'instant.

 

Il n'y a pas de bilan possible,

on est constamment dans l'instant :

 

Environment:

Every 15 seconds,

a child dies

because of a shortage of fresh water.

Frontpage headline,
O, 15.2.2004.
Full text:
https://www.theguardian.com/environment/2004/feb/15/
water.conservationandendangeredspecies

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Guardian        fin 2004- début 2005

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Guardian        p. 7        8 February 2005

 

 

 

 

 

 

 

 

 

 

 

 

 

 

fiction du jamais-dit / de l'inouï    (suite)

 

Le présent simple

permet de se démarquer du déjà dit

en faisant comme si

les mots étaient assemblés

pour la première fois :

 

 

 

The Guardian        p. 10        10 September 2004

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A l'inverse du présent simple,

le présent en be + -ing marque souvent une reprise,

un retour à du pré-énoncé / jugé, à du commun,

à un continuum discursif.

 

 

Les services religieux

sont souvent au présent simple :

 

face à la parole de Dieu,

l'officiant n'a pas à dire "je",

qui est l'une des valeurs énonciatives

de be + -ing.

 

 

Le prêtre se contente d'assembler

des éléments déjà connus,

comme si ils n'avaient jamais été dits.

 

 

La rhétorique religieuse passe ici

par la négation de l'anaphore (reprise, déjà dit) :

ce qui va être dit, vous ne l'avez jamais entendu,

vous allez l'entendre pour la première fois.

 

 

Comme tout discours liturgique, le texte ci-dessous,

extrait du service donné à St Paul's en 2003

pour les soldats tués en Irak,

vise, via le présent simple,

à se démarquer du dit profane,

d'un continuum discursif banal, en perte de sens

(continuum en be + -ing).

 

 

Une transposition en be + -ing

serait ici ridicule :

 

??? We're praying especially...

 

 

THE DEAN gives

THE BIDDING

 

WE come to this Cathedral today

from all parts of this nation

to remember before God all who have died in Iraq

in the course of the hostilities of this year.

We pray especially for all servicemen and women

from the United Kingdom

who have lost their lives or who have suffered injury,

and with them we remember their families,

their colleagues and their friends.

We continue to hold before God

all who are still on active service in Iraq;

we pray for their well-being

and for all who hold them in their hearts at home.

We give thanks for all who work for peace,

for freedom, for justice;

for the armed services; for the emergency services;

for all who carry the burdens of government.

We bring before God in penitence the hatreds of our world,

the deep divisions of our humanity.

We ask for a new understanding, a new resolve,

a new obedience to the law of love.

We pray for peace.

And we pray in particular for Iraq,

and for all who work

in the face of great danger day by day

to establish peace and security

and the well-being of all its people.

And so we come from many places,

from different traditions of faith,

to unite in thanksgiving, in remembrance,

in prayer before God, as we say together

OUR Father, who art in heaven,

hallowed be thy name, thy kingdom come,

thy will be done, on earth as it is in heaven.

Give us this day our daily bread;

and forgive us our trespasses,

as we forgive those who trespass against us;

and lead us not into temptation,

but deliver us from evil.

For thine is the kingdom, the power,

and the glory, for ever and ever. Amen.

Sit

Service of Remembrance Iraq 2003:
2000 people attend to remember
the 51 UK service personnel who died in action
10/10/2003
6
65947 Iraq service 7/10/03 1:27 pm
Page 6
http://www.stpauls.co.uk/
page.aspx?pointerid=
65826uTEr3MA2k3OzjvpaLHkczRowefu&thelang=001lngdef - broken link

 

 

 

 

 

 

 

   

 

présent simple (présent sans -ing)

 

sens et valeurs énonciatives >

 effets narratifs

 

 

 

 

The war is over

and the World War I flying ace is home...

 

Nervous and restless,

he searches for something to do...

 

State fairs clamor for his act!

 

The crowds scream with terror

as he performs incredible aerial acrobatics...

 

Peanuts

Charles Schulz

GoComics

August 29, 2021

https://www.gocomics.com/peanuts/2021/08/29

 

 

 

 

 

 

 

 

 

Le présent simple

permet à l'énonciateur / l'énonciatrice

de mettre en scène son récit

avec des styles / effets très différents :

 

solennité

(voir paragraphe précedent :

Service of Remembrance Iraq 2003),

 

récit héroïque (comics Peanuts ci-dessus).

 

objectivité scientifique (énoncé 1),

 

style télégraphique (2-3),

 

résumé factuel (4), ennui (5),

 

fascination (6-7),

 

narration distanciée (8),

 

découpage cinématographique (9),

 

description picturale / géographique (10),

 

présentation rapide d'une personne (11),

 

dramatisation (voir 4 comics ci-dessous).

 

 

L'instant est souvent présenté comme indépassable,

intemporel / mythique

(// clichés narratifs à l'imparfait en français :

"le temps semblait s'être arrêté",

"chaque instant était une éternité",

etc.).

 

 

Même dans une chronologie ou dans un récit,

la lectrice / le lecteur n'a pas toujours l'impression

d'un déroulement temporel et discursif,

d'une relation prévisible de cause à effet,

où l'on peut anticiper :

 

chaque énoncé semble coupé des autres,

est présenté pour lui-même,

et non dans sa relation avec ce qui suit ou ce qui précède

(// film : succession de plans brefs et non-raccords -

photographie :

décomposition du mouvement,

à la manière de Muybridge).

 

 

A l'inverse de be + -ing,

dont l'une des valeurs est souvent

de marquer un lien / un continuum énonciatif,

le présent simple permet de découper le discours,

de le décomposer,

de marquer une discontinuité / un vide

entre chaque énoncé,

de les séparer en mettant chacun d'entre eux

en évidence.

 

 

On sort du banal, du réglé, du prévisible,

ce qui crée un effet de suspense :

 

 

 

The Phantom

George Olesen and Graham Nolan

created by Lee Falk

17 October 2004

http://www.kingfeatures.com/features/comics/phantom/about.htm

 

 

 

 

 

 

 

 

 

 

 

 

 

Autre différence essentielle avec be + -ing :

ce qui est dit au présent simple

échappe au commun, au banal, au bruit de fond.

 

 

Dans le texte publicitaire ci-dessous,

qui rappelle à quel point la politique en matière de transports

influe sur chaque élément de notre vie quotidienne,

tous les énoncés sont au présent simple,

séparés par un symbole graphique :

 

 

 

 

The Guardian    17 May 2004

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1 -    Only the moon is brighter in our current night sky;

it stands more than 20° right of Mars at midnight tonight,

10° right of the planet tomorrow night

and 4° left of Mars on Wednesday.

Mars lies in the constellation Aquarius,

rises in the ESE during evening twilight tonight

and stands some 20e to 25° high

in the S at about 02:40 BST,

moving into the SW by dawn.

Opposition comes on the 28th

when it stands opposite the sun

and is visible throughout the hours of darkness.

Through a telescope,

Mars appears 24 arcsec across tonight,

as against 25 arcsec on the 27th and 21 arcsec

when it stood at its closest in 2001.

Starwatch, G, p. 20, 11.8.2003 (Monday).

 

 

 

 

 

2 -    9am Tony Blair arrives in Basra

on an RAF Hercules from Kuwait.

Meets British commanders.

10 am In Basra airport's VIP suite,

once reserved for Saddam and his associates,

Mr Blair meets John Sawers, the UK special representative,

and Paul "Jerry" Bremer,

head of the Office of Reconstruction

and Humanitarian Assistance.

11 am At a school on the outskirts of Basra,

which reopened with Ministry of Defence funding,

a boy kisses Mr Blair's cheek.

He tells them:

"You children are the future for this country."

Mr Blair's big day out in Basra:
he shook hands,kissed children
and adopted a Churchillian tone / A flying visit,
I, p. 3, 30.5.2003.

 

 

 

 

 

3 -    9.30am Tuesday

A joint British patrol with Iraqui guards and interpreters

searches for arms.

They are attacked by a crowd throwing stones.

They come under fire from Iraqis and return fire.

A vehicle is hit by a rocket-propelled grenade.

One British soldier is wounded.

A rapid reaction force,

including light tanks and a Chinook helicopter,

arrives to help,

but the helicopter also comes under fire.

It retreats, after seven people on board are wounded,

two seriously.

A second rapid reaction force arrives

and recovers the wounded ground soldier

11am A police station comes under fire.

The siege lasts two hours.

Six British military police training Iraqui police officers

are found dead

'Run or you will die.' The soldiers did not go and they died...
GI,
p. 1, 26.6.2003.
Marqueurs de temps en gras dans l'original.

 

 

 

 

 

4 -    Emma tells Brenda that she slept with Ed.

She's completely torn between the brothers,

and doesn't want to give up either of them.

Brenda says she mustn't see them

until she makes up her mind.

Clarrie visits Will and asks about Emma.

He says that she isn't talking to him.

Debbie tells Adam that she went for an interview

to be a development manager

for a seed company based in France.

She thinks she's done well.

Will drops in on Emma and tells her

that she's all he's ever wanted

and that he needs to know how things stand.

Emma asks for time to think.

Chaba phones Kirsty

and tells her he's gone back

to his old girlfriend in Hungary.

The Archers: what happened last week,
The Week, p. 26, 17.5.2003.

 

 

 

 

 

 

 

 

Mark Trail    Jack Elrod    Created by Ed Dodd

26 August 2004

http://www.kingfeatures.com/features/comics/mtrail/about.htm

 

 

 

 

 

 

 

 

5 -    The winner lives

at 1600 Pennsylvania Avenue,

flies around in Air Force One

and speeds through red lights

in motorcades.

The loser sulks at home,

or begins to raise money for 2004.

The winner rewards his supporters with plum jobs.

The loser endures the odium of disappointed supporters

and power-hungry rivals.

And the real winner is..., E, p. 64, 2.12.2000.

 

 

 

 

 

6 -    After cradling one of the 475 white nylon sacks

laid out on the concrete floor,

Um Jassim opens the shroud and sifts through the bones.

She strokes a bone attached to a blindfolded body,

and kisses the teeth.

My only son she wails, beating her chest.

Bring him back.

Iraq's mass graves:
As the horrors are unearthed: Saddam Hussein's awful legacy,
E, p. 41, 32.5.2003.

 

 

 

 

 

7 -    It is past nine now.

UM 006 has begun to put out a subtle gamey smell,

the mild but unmistakable fetor

of a butcher's shop on a hot day.

John Cavanaugh calls down that there's pizza upstairs,

and the three of us, Deb, Matt Mason and I,

leave the dead man by himself.

It feels a little rude.

By half past eleven,

all that remains is to get UM 006 into driving posture.

He is slumped and leaning to one side.

Cavanaugh takes the cadaver by the ankles

and pushes back on him,

to try to get him to sit up in the seat.

He steps back.

The cadaver slides toward him. He pushes again.

This time he holds him

while Matt encircles UM 006's knees

and the entire circumference of the car seat with duct tape.

"This probably won't make it into the '101 Uses' list,"

observes Matt.

'The smell is not too bad today',
GI/G2, p. 14, 26.6.2003.

 

 

 

 

 

8 -    Saddam Hussein,

Taha Yassin Ramadan and Tariq Aziz

are lounging on the balcony of one of Saddam's palaces

when a flock of geese flies over.

"Ramadan, shoot the geese," Saddam says.

The vice president lifts his AK-47

and empties a clip into the sky,

but doesn't hit a single goose.

"You try, Tariq," Saddam says.

The deputy prime minister fires and misses as well.

"Damn, I have to do everything around here,"  Saddam says.

He fires five rounds in the air.

None of the birds fall.

There's an awkward silence.

Then Tariq Aziz points at the receding flock and says,

"My God, would you look at that! Dead birds flying!"

Telling a joke like that could get you maimed,

tortured and even killed in Saddam Hussein's Iraq.

Iraq: Killer Jokes, pp.4-5, N, 19.5.2003.

 

 

 

 

 

9 -    A gunshot rings out.

Footsteps sound across a warehouse floor.

A helicopter swoops down

and a police siren suddenly blares.

We are at the Crime scene, and the chase is on.

Our anti-hero ducks through back alleys,

skirts scrambled voices,

dodges a volley of bullets

and dives through a dimly lit window,

surprising the dopeheads inside listening to reggae.

When the lights go down, GE2, p. vI, 30.08.2002,
https://www.theguardian.com/music/2002/aug/30/
popandrock.artsfeatures

 

 

 

 

 

10 -    On the southern side of Madagascar lies

a wilderness paradise.

The Indian Ocean washes over white sands.

There is a primeval rainforest

which is home to thousands of plant and animal species

found nowhere else.

Mining giant threatens to scar island paradise:
Environmentalists and Rio Tinto at odds
over a plan to exploit Madagascar's minerals,
GI, p.8, 23.6.2003,
https://www.theguardian.com/world/2003/jun/23/
rorycarroll.riotinto

 

 

 

 

 

11 -    Hamza al-Gahnem is 12 years old,

and lives in building number 32

in an estate with 55 identical seven-storey buildings.

He likes football, and pines for a Sony PlayStation,

but what he wants most of all is

to meet Iraq's president, Saddam Hussein,

so he can tell him the story of his birthday.

Waiting for war:
the boy who was born as first bombs fell last time,
GE,
p.1, 7.3.2003
https://www.theguardian.com/world/2003/mar/07/
iraq.suzannegoldenberg

 

 

 

 

 

 

 

 

 

 

 

Rex Morgan M.D.    Woody Wilson and Graham Nolan    5 July 2004

http://www.kingfeatures.com/features/comics/rmorgan/about.htm

 

 

 

 

 

 

 

 

 

 

 

Steve Roper and Mike Nomad    Fran Matera    26 September 2004

http://www.kingfeatures.com/features/comics/sroper/about.htm

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Voir aussi > Anglonautes >

Grammaire anglaise explicative - niveau avancé

 

be + -ing

 

 

Présent simple  ≠ présent en be + -ing

 

 

Sortie

du continuum discursif en be + -ing >

présent simple

 

 

Passage du "je" (be + -ing)

au "on" (présent simple)

 

 

Temps grammatical (tense),

temps chronologique (time)

 

 

légendes de photographies >

décrire ≠ dire

présent simple ≠  be + -ing

 

 

 

 

 

Voir aussi > Anglonautes >

Grammaire anglaise explicative en BD - niveau débutant

 

parler du présent

 

 

 

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