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• W4214774037 abstract "Reviewed by: Détestation de mots: mots intrigants et quelques amours by Jean Boustra H. Jay Siskin Boustra, Jean. Détestation de mots: mots intrigants et quelques amours. L’Harmattan, 2020. ISBN 978-2-343-19449-3. Pp. 110. In order to frame this work, it is important to recognize that the author is not a pedagogue, but rather a psychoanalyst. Yet without formal credentials in linguistics or literature, Boustra has much to add to the conversations occurring in the profession. The role of language in psychoanalysis is crucial. Having affirmed his bona fides, I must also qualify my praise: Boustra enjoys engaging in abstruse speculation, supported by researchers in psychoanalytic textual analysis, whose works may not be familiar to many readers. I count myself among this audience. This medievalist was seduced by Boustra’s characterization of his work as a “bestiary.” Each “beast” in the collection is presented within the author’s subjective interpretation, in the form of a personal narrative. With one exception, the entries conclude with a phonogramme, defined as the author as “un signe graphique susceptible de représenter arbitrairement un son” (10). This is not the conventional meaning of this word, which usually signifies a sound or series of sounds at the phonetic level. In order to make sense of his idiosyncratic usage, I have paraphrased the term as an oral representation of a subjective response to a word, illustrated by the entry. My exemplar is the noun écrivaine, a fairly recent innovation, at least in Hexagonal production. But Boustra does not like it. His story/apology begins with the acquisition of a book written by l’écrivain Colette, given to him “une après de midi” (43). This noun is most often identified as masculine, with the feminine less popular and more context-bound. But Boustra purposely used the feminine form because (I believe) he wished to create a subtle introduction to his discussion of the confounding of grammatical gender and biological gender. What chutzpah to assimilate Madame de Lafayette and George Sand, for example, to the category of écrivaine! (the masculine pen name George Sand also leads to some gender trouble). Boustra may be condemned as a prescriptivist who rejects innovations. But his horror of the term écrivaine is also related to its sonority and near homophony (vaine/vanité): “Écrivaine a une terrible résonance avec vanité d’écrire” (44). Moreover, écrivain, used according to an older usage, does not exclude women or other genders, nor notions of intersexuality. Boustra’s phonogram is “Hè! Crie! Vain... Vaine,” that I interpret as a call for attention to gendered language. Although Boustra does not establish any pedagogical guidelines, the reader may seize upon the notion of novelty, homophony, and aesthetics. When presenting vocabulary, I regularly ask students to pick out words that they like and dislike, with the goal of fixing these items in their memory. In more advanced courses, I emphasize sonority and encourage an association with other items in the lexical inventory. Despite the difficulty of Boustra’s text, the pedagogue will discern subtle albeit fruitful subjective approaches to the lexicon. Upon many re-readings, I have concluded that Boustra is a “linguistic trickster.” Although his reflections are often frustratingly dense, a deep reading will yield unexpected rewards. [End Page 266] H. Jay Siskin University of California, Santa Cruz Copyright © 2022 American Association of Teachers of French" @default.
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• W4214774037 title "Détestation de mots: mots intrigants et quelques amours by Jean Boustra" @default.
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