Jean Gagnepain

Put another way, there is no melody without range, and there is no range without melody! Well, this double and reciprocal projection of one scale to the other is typical of all our enunciations, anyone that is the language that we practice. In the background there is always what the grammatical analysis and logic taught us, and not without a good reason, namely, that the elements of an utterance had a nature say an identity (vertical scale)-, and a function (horizontal scale) is to say that these two scales contribute, each for its part (and must be added together)in the functioning of the utterance (I have left aside, to simplify, the great innovations of the successors of Saussure who were those who went out this idea of function of the vocabulary itself). Be, for example, the pain unit (there are here, make a complete abstraction of the spelling, and imagine that we have the equivalent of the note sol): there is no pain as Unit verbal, because I can tell you pain or il peint, is allowing me to classify the first unit in a substantive scale (range in which, lexicalmente, pain will oppose biscotte, brioche, etc.), and classify the second range of verbs (range in which, lexicalmente, peindre oppose colorier, barbouiller, etc.). But, conversely, if you didn’t range that is a principle of classification, not could organize those two drives as I have done. No classification without schema that has no classification, or, if they prefer, without analysis of one of the two scales without one analysis on the other hand, i.e. without the two scales are analysed reciprocally, exactly like the two faces. Here is Jean Gagnepain’s first contribution to the knowledge of the language, on the basis of the clinical afasiologica. I have to point out that since the middle ages is that data the old analysis that many of you perhaps practiced in school, at least I did: analyze a sentence, was to separate the well understood elements, defining its nature and then its function.

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