The aim of this article is to study the stereotypical representation of Marrakech by the French poet Alphonse Meterie. In the collection Petit Maroc 2 2, the Moroccan city is the object of an ambivalent representation. The predominant mode is a depreciative one. The poet's view leads us to reflect on the elements of stereotyping and its variations, such as the implicit, the cliche, prejudice, and images of contempt. The analysis of the poems is based essentially on thematic and poetic reflection. To understand the poet's discourse, contributions from researchers and specialists in literature and other fields of knowledge-particularly discourse analysis as his poetry unites literature and politics-are sought. The approach adopted in this paper provides freedom of action, since poetic language gains much when it borrows its elements of analysis from a variety of sciences. It is deduced that the poet's choices are determined by the political context and the dominant-dominated relationship. The duality of Meterie on a mission and Meterie as a poet produces a discourse of ambivalence and contempt, hence the profusion of stereotyped images of the city of Marrakech and its human and spatial components. The representation is predominantly depreciatory, illustrated by the use of stereotypes and their variations. Alphonse Meterie's collection Petit Maroc 2 presents a colonial poet's view of his city of residence, Marrakech. The city is the site of representations based on preconceived ideas and apriorism inherited from the pre-colonial era. This vision reflects a lack of understanding and awareness of the city's specificity. Nevertheless, the hold Marrakech has on Meterie's experience is ex-pressed at various points in the collection.
The emergence of conversational agents capable of creating fictional narratives raises essential questions about the concept of literariness. This study analyses a text generated by the Gemini 1.5 Flash artificial intelligence to determine whether it can be considered literary. The methodology consists of four analytical stages. It begins by examining various definitions of literature, then explores the concept of literariness as developed in the work of Jakobson. Next, it outlines the different modes of text generation before offering a liter-ary analysis of a text produced by Gemini 1.5 Flash. The results show that Gemini's text displays several features traditionally associated with literary works, confirming that liter-ariness can emerge regardless of whether a text has human or artificial origins. However, in the context of artificial intelligence, literariness appears to depend less on generation and more on reception, inviting readers into a process of discovering a literary experience that is both aesthetic and emotional. This shift towards reading invites us to reconsider traditional theoretical categories and opens up new perspectives for literary studies in the digital age.
hypertextual novel is a hybrid literary creation, situated at the intersection of literature and the digital field. Therefore, hypertextual fiction deconstructs the limits of the printed text as it represents a visual and interactive crossroads shaping a renewed creation based on the investment of new technologies implementing a non-linear narrative organisation characterised by fragmentarity and hybridity. Among these new fictional forms, the novel Poreuse by the French writer Juliette M & eacute;zenc emerges as a space of animated movement dotted with hyperlinks that contribute to forming an entire network of interconnected fragments through hypertextuality. It is a non-linear production representing an immersive and fragmented universe with a totality that remains inaccessible insofar as each fragment only conveys a simple fragment of an unfinished and continually evolving meaning. On the basis of the concept of hypertext, this article aims to study the characteristics of the hypertextual novel through the analysis of the modalities of fragmentation and hybridisation in the novel Poreuse, where the search for meaning takes the form of a labyrinthine journey by investing the image, the colour, and the symbol as revealing signs of meaning, allowing the reader to follow the paths of the three main characters, paths which intertwine from start to finish to weave a complex and fragmented plot.
Language is not always explicit it is also implicit. Indeed, the interpretation of what is left unsaid, as Ducrot said, requires linguistic and extralinguistic information. According to Lakoff and Johnson, metaphors are not just stylistic aspects of language in literature, but also universal strategies of human cognition. The interpretation of conceptual metaphors requires the production of inference; thus, this study aims to examine, through examples, the role of inference in the interpretation of metaphors. It is about assessing the process of metaphorical inference, linking the source domain and the target domain. A comparative analysis is conducted: on the one hand, human natural processing and automatic treatments of metaphorical implicature will be compared on a restricted sample; on the other hand, a comparison will be made between ChatGPT4.0 and the Chinese DeepSeek. The results of the processing of conceptual metaphors show that affective metaphors are uninterpretable by ChatGPT4.0, but it offers a relevant graphical representation, whereas DeepSeek provides examples of metaphors related to the physical and experimental world with a relevant interpretation; however, it cannot offer advanced representations. By comparing the two language models with natural processing, one can argue that AI is a complementary tool and assistant to the human brain.
linguistic communities now bring together people from all over the world. They have become key actors in addressing numerous issues, particularly those related to sustainable development. However, it is essential that these virtual spaces provide their members with appropriate tools capable of accommodating diverse linguistic needs, so that knowledge and information can be shared effectively. This article examines the role of these platforms in the dissemination of knowledge and in promoting values related to ecological challenges. Through a sociolinguistic approach, supported by semi-structured interviews with 128 participants from various online linguistic communities, the study highlights the connections between discursive practices, digital participation, and environmental engagement. The results show that the success of this "communicational ecology" relies on a balance between linguistic accessibility, technological adaptation, and collaborative participation. Indeed, obstacles such as terminological complexity and the dominance of certain languages, particularly English, hinder truly inclusive participation. Moreover, the interviewees express strong expectations regarding techno-linguistic tools that facilitate the translation, simplification, and contextualisation of specialised content. Finally, the study offers perspectives on how virtual communities can become spaces of eco-discursive mediation, capable of transforming communication practices and strengthening members' engagement in concrete measures for environmental preservation.
This article aims to study the technical, stylistic, and aesthetic characteristics of digital poetry, which presents itself to be read, seen, and heard as a hybrid creation employing several semiotic systems in a strategy of semantic densification. The choice of digital poetry as an object of study is explained, on the one hand, by the paradigm shift that the computer medium has brought about in the mediatisation of culture and the dissemination of knowledge and information, and on the other hand, by the enthusiasm of young people for these new forms of communication, namely social networks and community platforms. Multidisciplinary and syncretic, the theoretical approaches employed in this article, notably Alexandra Saemmer's semio-rhetorical approach and Gilbert Durand's archetypal analysis of the imaginary, have allowed us to identify the specific characteristics of digital poetry. This is achieved by considering both the expressive materiality of the devices and the symbolic dimension of the imaginary regimes, thus transcending the technological dimension of the computer medium. In this article the notion of literariness in the light of contemporary technological shifts has therefore been examined, highlighting the singularity of digital poetry as a profoundly innovative art form. It is in this sense that the shift of literariness toward the margins of the device in poetic experiments on Twitter is part of a subversive poetics. An attempt has been made to demonstrate that contemporary digital poetry is eminently demanding, an act of resistance against the market-driven, capitalist, and normative logics of the digital industry.
Disrupting the spindles of linear prose, Pomelo, the winner of the 2023 Franco-phone Interactive Fiction Competition, Le h & eacute;ros dont vous & ecirc;tes le livre by Yakkafo, is an interactive narrative game created using the artificial intelligence tools Twine and Moiki. This work allows the reader-player to shape the outcome of the story by providing a skeletal text interspersed with dialogue prompts and hypertext annotations. A prolific author of interactive fiction, Yakkafo distinguishes himself in Le h & eacute;ros dont vous & ecirc;tes le livre through an unprecedented narrative design, where the reader-player transforms into a reflective text-a Narcissus marveling at the reflection of their own words. With the mere touch of the text, the reader-player plunges, hesitantly yet inevitably, into the heart of the story, interacting and filling in the textual framework with their own vocabulary. From a "cybertext" perspective, Espen Aarseth's ergodic and ludological approach aligns seamlessly with the interactivity of Yakkafo's narrative. The article is designed to explore the ergodic and ludological meanderings in the interactive fiction of Yakkafo. While primarily focusing on Le h & eacute;ros dont vous & ecirc;tes le livre, this article also extends its scope to a range of Francophone interactive narratives available on the digital platform "fiction-interactive.fr, L'imaginaire, le meilleur des moteurs de jeu", enriching our research and serving as an inexhaustible argumentum. The result is a narration enlivened by hypertexts and prompts-a constel-lation of playful compositions crafted by multiple hands, an astonishing exquisite corpse.
This article explores Fantasia. Contes et l & eacute;gendes de l'intelligence artificielle by Laura Sibony through a psychoanalytic lens, reading it as a literary work that stages a human subject in crisis. This collection of short stories reveals the subject's fractures when confronted with the machine. The very title, derived from the Greek word phantasia, immediately evokes the notion of fantasy. Sibony presents artificial intelligence as a revelator of the contemporary unconscious, where the fundamental structures of desire and drive are replayed, along with the desubjectivation induced by digital technologies. Through the analysis of five selected short stories: Le D & eacute;serteur, Sans filtre et sans reproche, P & eacute;nis et croix gamm & eacute;es, Des Mad Men aux Math Men, and Impact avec le diable, this article examines how these narratives portray a fragmented subject, caught in the reflections of the technologi-cal mirror. How AI functions as a revealing mirror of the unconscious: of the double, the superego, the death of the symbolic, and the extinction of desire will be shown. By intersecting psychoanalysis and literary analysis, this study focuses on the motifs, figures, and networks of meaning at work in the selected texts. Ultimately, it is argued that Fantasia emerges as a literature of fantasy in which AI does not speak of the machine itself, but of us-of our psyche, and of our deadlocks in the digital age.
This article offers a reading of Fantasia: Contes et l & eacute;gendes de l'intelligence artificielle by Laura Sibony as a poetic and critical exploration of artificial intelligence conceived as a figure of literary imagination. Far from technophobic narratives or utilitarian visions, ar-tificial intelligence is approached as a mirror of the human subject, revealing its anxieties, desires, and paradoxes. Through a mythic constellation, from the Demiurge to Prometheus and from the Double to the Golem, Sibony situates AI within the continuity of the great figures of creation, questioning both the delegation of creative power and the Promethean temptation of humankind to become divine. This mythocritical approach is intertwined with an aesthetic of narrative and linguistic hybridity. Each short story in Fantasia adopts a singular form, fragmentary, poetic, essayistic, or satirical, that reflects the shifting and plu-ral nature of artificial intelligence. Thus, literature becomes a laboratory of thought in which the coexistence of human and machine, of technique and sensibility, is tested and reimagined. Through writing infused with philosophical, historical, and psychoanalytic references, Fantasia shifts the debate on AI towards the realm of subjectivity, symbolism, and language. In doing so, Laura Sibony offers a rereading of the contemporary world in which technology is no longer a mere tool, but a true agent of fiction and a catalyst for aesthetic and existential metamorphoses. Here, artificial intelligence does not destroy the literary, but reinvents it.
