04054000113 étude comparative de l’acte de déclaration d’amour en français et en vietnamien dans les films contemporains = nghiên cứu so sánh hành Động tỏ tình bằng tiếng pháp và tiếng việt trong các phim hiện Đại
Raisons du choix
The relationship between culture and language is deeply intertwined, as emphasized by Leylavergne and Parra (2010), who state that a language can only thrive as the linguistic expression of a culture Barthélemy, Groux, and Porcher (2011) further highlight that effective communication in a foreign language requires not only mastering linguistic usages but also adapting these skills to specific communicative contexts, which is rooted in cultural knowledge Thus, to communicate effectively in a foreign language, such as French, one must possess socio-cultural insights in addition to linguistic proficiency In today's era of globalization, interactions between different cultures often lead to misunderstandings and conflicts due to cultural divergences Therefore, comparative research is essential for understanding the differences among ethnic communities and improving responses in intercultural communication situations.
During our university years, we focused on the study of speech acts, particularly the act of declaring love This act reflects a subtle and complex human sentiment, utilizing a rich array of linguistic and extralinguistic resources by the declarants Although the declaration of love exists across all languages and cultures, the manner in which love confessions are made varies significantly from one country and culture to another A comparative study on the ways of expressing love is essential to bridge communication barriers and achieve successful conversations.
The seventh art has long been an integral part of human mental life, evolving into a popular art form, entertainment, an industry, and a medium It is on screens that we can most easily find death declarations in both French and Vietnamese Additionally, numerous linguistic studies focus on death declarations in literary or theatrical works; however, there is a significant lack of research exploring this phenomenon within the cinematic corpus.
We have decided to conduct an in-depth study on the declaration of death in French and Vietnamese contemporary films This research presents significant challenges, as it requires a strong command of linguistic, cultural, and psychological knowledge However, we hope that the results will help students better understand the use of this language aspect in both languages, thereby avoiding discomfort, misunderstandings, and potential shocks in intercultural communication.
Questions de recherche
Dans le cadre de ce travail de recherche, nous essayons de répondre aux deux questions ci-dessous :
- Comment les d cl r tions d mour sont-elles formulộes dans les films franỗais et vietnamiens ?
- Quelles sont les ressemblances et les différences entre l r lis tion de l cte de d cl r tion d mour en fr nỗ is et en vietn mien ?
Méthodologie de recherche
Pour effectuer cette recherche, nous recourrons aux méthodologies descriptive, analytique et comparative
We will begin by searching for French and Vietnamese films produced between 2000 and 2019 on film websites such as Allocine.com, SensCritique.com, and Telerama.com Next, we will read their synopses and watch their trailers to select films that may feature declarations of love After compiling a list of approximately 60 films, primarily focusing on romances and comedies, we will watch each film in its entirety and extract scenes containing heartfelt declarations of love To facilitate our analysis, we will transcribe these scenes and specify the context in which each situation occurs.
The second stage of our research involves analyzing these excerpts, conducting statistics, and making observations Based on this data, we will compare the rates of declaration of death in French and Vietnamese to highlight similarities and differences Finally, we will attempt to explain these results through linguistic and socio-cultural knowledge.
Plan de recherche
Notre tr v il de recherche s rticuler en deux chapitres :
In the first chapter, "Theoretical Foundations," we will explore general theoretical issues related to our research, including the design of speech acts by various researchers, the execution of these acts, and the influencing factors such as context, interpersonal relationships, and politeness We will also provide an overview of the speech act of declaration of love, discussing its definitions, methods of execution, and particularly its impact on the faces of the interactants.
The second chapter will focus on presenting and analyzing the corpus We will outline the reasons for our selection of this corpus and then delve into its analysis by exploring various aspects of love declarations, including the setting, participatory framework, themes, and the ways in which love confessions are expressed in French and Vietnamese This stage aims to identify the similarities and differences in the formulation of love declarations in these two languages Finally, we will provide explanations for these differences based on linguistic and socio-cultural factors.
FONDEMENTS THÉORIQUES
Théories des actes de langage
Linguistic pragmatics is based on the theory of speech acts, which posits that saying something is also doing something Various schools of thought had already expressed this idea in different terms and perspectives by the early 20th century However, it was with the publication of "How to Do Things with Words" in 1962 that British philosopher J.L Austin is widely regarded as the founder of speech act theory.
1.1 Théorie des actes de langage de J.L.Austin près Austin, le langage n ssure p s que l fonction de décrire le monde mais de réagir sur le monde Dans la perspective de cette idée, il fait la distinction entre les deux types d nonc : énoncé constatif et performatif Le premier sert à décrire le monde et peut être considéré vrai ou faux selon que cet acte est exécuté ou non (Exemple : Il f it be u ujourd hui.) Le deuxième ne décrit rien mais accomplit l cte qu il d nomme Exemple : Je promets de venir.)
The boundaries between constative and performative utterances are not always clear While explicit performative utterances (e.g., "I invite you to go to the cinema") are straightforward, there are many implicit performatives that convey an invitation without using the verb "invite" (e.g., "It's nice today" or "Are you free tonight?") Additionally, constative statements can also refer to implicit speech acts For instance, the statement "There is a cat on the couch" serves not only as a descriptive assertion but also carries an implicit meaning.
Par la suite, Austin introduit la distinction entre trois types d ctes réalisés lors de l nonci tion de toute phr se :
- L cte locutoire qui implique le f it de dire quelque chose c est dire de produire la parole
- L cte illocutoire que l on ccomplit en dis nt quelque chose
- L cte perlocutoire qui implique l effet produit p r l cte illocutoire
Par exemple, en dis nt ô Qu est-ce que tu f is l ? ằ, on rộalise :
- un acte locutoire en articulant et en combinant des sons et des mots selon les règles grammaticales
- un acte illocutoire u mesure o cette nonc pour objectif d obtenir quelque information chez le destinataire
- un acte perlocutoire si l nonci tion vise des effets loint ins : Rendre service quelqu un emb rr sser quelqu un etc
1.2 Théorie des actes de langage de J.R.Searle
In his 1969 work "Speech Acts," Searle builds on Austin's ideas by viewing every linguistic statement as a specific act, such as a command, promise, or advice, aimed at producing a particular effect and altering the conversational context Searle's key innovation lies in distinguishing between two components of a statement: the propositional content and the illocutionary force, which imparts its direct value.
In his book "Ô Sens et Expression" (1982), the author addresses the issue of the taxonomy of illocutionary acts This classification is based on the illocutionary purpose, the intensity of the presentation of that purpose, the alignment between words and the world, as well as the respective statuses of the speaker and the listener These criteria enable him to identify five general categories of illocutionary acts.
- Les assertifs qui visent à ô engager la responsabilitộ du locuteur sur l existence d un t t de choses sur l v rit de l proposition exprimộe ằ
- Les directifs qui impliquent ô des tentatives de la part du locuteur, de faire faire quelque chose p r l uditeur ằ
- Les promissifs qui ont pour but ô d obliger le locuteur dopter une cert ine conduite future ằ
- Les expressifs qui ont pour but ô d exprimer l t t psychologique sp cifi d ns la condition de sincérité, vis-à-vis d un t t de choses sp cifi d ns le contenu propositionnel ằ
- Les déclarations dont l ccomplissement réussi garantit une correspondance du contenu propositionnel au monde
1.3 Théorie des actes de langage de C.Kerbrat-Orecchioni
In her 2001 book "The Acts of Language in Discourse," Kerbrat-Orecchioni explores the concept of speech acts, emphasizing that a statement operates within a context and a sequence of acts Unlike traditional pragmatic approaches, the interactionist perspective considers these aspects central She notes that in the case of indirect language acts, saying something can mean multiple things simultaneously or can be done under the preferences of another For instance, an invitation can be expressed through a question ("Are you free tonight?"), an assertion ("There's a great movie at the cinema tonight."), or a request ("Come to the cinema with me tonight.") The same structure can convey various illocutionary values, as most sentence structures in language are illocutionarily polysemous Consequently, statements in discourse can carry multiple overlapping meanings, fostering different types of relationships For example, "What time is it?" primarily serves as a question for information but can also imply various generic values such as an announcement or reproach.
In summary, speech acts are not merely linguistic expressions but also linguistic actions that fulfill our communicative goals Additionally, the role of context in the formulation and interpretation of a speech act is central Indeed, one can perform a speech act under the guise of another, and conversely, the same utterance can convey multiple illocutionary values depending on the circumstances of the interaction In the following sections, we will focus on the various ways in which speech acts are performed and the factors that influence them.
Réalisation des actes de langage
2.1 Réalisation directe ien qu on ne puisse p s f ire l distinction nette entre l r lis tion directe et indirecte d un cte de l ng ge on dopte en général deux types de supports : les verbes performatifs et les formes de phrases
A statement is considered a performative utterance when it both names and accomplishes an act simultaneously For instance, phrases like "I promise to come" or "I request you to come" are performative utterances because one cannot say "I promise" without making a promise or "I request" without making a request This is why the use of performative formulas clarifies the pragmatic value of the statement, making it easier for the recipient to understand However, in practice, this type of direct formulation is rarely used.
2.1.2 Formes de phrase c t des verbes perform tifs les formes de phr ses peuvent m rquer l cte correspondant sans le dénommer explicitement En général, il existe quatre formes de phrase (déclarative, interrogative, impérative et exclamative) qui sont polysémiques car un énoncé peut assumer selon le cas de différentes fonctions
- Une phrase dộclarative comme ô Je vais venir ằ peut correspondre une ssertion mais aussi une menace, un avertissement
- Une phrase interrogative comme ô Quelle heure est-il ? ằ dont le but est d obtenir une information de son destinataire peut aussi signifier une annonce ou un reproche
- Une phrase impộrative comme ô Ferme la porte ! ằ peut ờtre un ordre, un conseil ou une supplication
- Une phrase exclamative comme ô Quel beau spectacle ! ằ peut correspondre un compliment ou une demande
+ La tournure ô Espốce de X ằ pour formuler des insultes
Exemple : Espèce d’âne ! Espèce d’abruti !
+ Les tournures ô Pourquoi ne pas P ? ằ et ô ầa te dirait de P ằ pour proposer ou suggérer quelque chose
Exemple : Pourquoi ne pas aller au cinéma ce soir ?
+ La tournure ô Dommage que P ằ qui introduit une dộploration
Exemple : Dommage que tu ne sois là
- Les marqueurs lexicaux : Les mots qui portent leur propre valeur négative ou positive permettent d identifier l v leur illocutoire d un nonc
Exemple : ô Ce film est formidable ằ est un compliment ô Ce film est nul ằ est une critique
- Les marqueurs prosodiques : Une question peut être marquée par une intonation montante, une critique peut être prononc e d une voix réprobatrice, etc
- Les tournures jout es l formule perform tive et l forme imp r tive :
+ L infinitif prescriptif : ô Av nt d ouvrir couper le cour nt ằ ou ô teindre et d br ncher l pp reil prốs l us ge ằ
+ Les tournures elliptiques : ô Debout ! ằ, ô Feu ! ằ, ô Deux biốres pression ! ằ + Certaines tournures dộclaratives : ô Il faut que tu viennes avec moi ằ, ô Je veux que tu partes ằ
In "Ô Sens et expression" (1982), Searle illustrates that a speaker's intended meaning can differ from their literal words Kerbrat-Orecchioni supports this notion, stating that speakers often express themselves indirectly, implying that saying something can convey multiple meanings simultaneously This concept encompasses two types of indirect formulations: conventional and non-conventional indirect expressions.
(1) Est-ce que tu peux éteindre le climatiseur ?
(2) Veux-tu aller au cinéma avec moi ce soir ?
The two sentences function as indirect speech acts, presenting a request (1) and an invitation (2) in the form of questions However, the recipient cannot treat them as simple questions that can be answered with a straightforward "yes" or "no," as French language rules dictate that these interrogative forms are understood as requests or invitations Therefore, the value of the request and invitation is conventional.
Unlike conventional expressions, statements like "I am cold" or "I know a very good movie" can be interpreted in various ways For instance, a listener might respond to "I am cold" by treating it as a statement and saying, "I like it that way," without violating the rules of the French language In this case, to deduce the intended meaning, one must rely on contextual elements Thus, this meaning is considered non-conventional.
To differentiate between these two types of formulations, we can refer to expansions In fact, just like direct requests, conventional indirect requests can be accompanied by expansions For example, one might say, "Could you please turn off the air conditioner?" or "Please turn off the air conditioner!" On the other hand, unconventional indirect formulations do not easily allow for such expansions; for instance, one would not say, "I am cold, please!"
Fa s infl n s a s langag
According to traditional approaches, speech acts are viewed as abstract, isolated entities independent of their context However, in real communication, these acts operate within a specific context and sequence of events Pragmatic interactionist theories emphasize these aspects that diverge from classical perspectives The communicative context encompasses the environment in which the interaction occurs, including factors such as location, purpose, and participants The meaning of a statement is contingent upon its context, indicating that altering the context changes the interpretation (Moeschler, 1995:26).
The spatial framework refers to the characteristics of the location where interactions occur, whether it is an open or closed space, public or private It also encompasses the social and institutional functions of the space, such as apartments, stores, or classrooms.
The temporal framework is a crucial element that influences the course of interaction The speaker must adjust their statement based on the established duration and the timing of the communicative situation.
The purpose of an interaction lies between the site, which serves its own function, and the participants, who have their individual objectives (Kebrat Orrechioni, 1990: 79) An interaction encompasses a global goal and specific objectives that correspond to the various aspects of language utilized during the encounter to achieve the overarching purpose.
Based on their purpose, interactions can be categorized into two types: external interactions, which are conducted for a specific goal such as purchasing, consulting, or obtaining information, and internal interactions, which involve conversations aimed at maintaining social relationships.
En ce qui concerne les participants, il faut tenir compte de :
- Leur nombre : conversation à deux ô dialogue ằ, à trois ô trilogue ằ ou davantage ô polylogue ằ
- Leurs caractéristiques individuelles : âge, sexe, profession, statut social, caractère, etc
- Leurs relations mutuelles : degré de connaissance, nature du lien social (familial, professionnel ou amical, avec ou sans hiérarchie), et affectif (sympathie ou antipathie, amitié, amour ou autres sentiments)
C.Kerbrat-Orecchioni (1992 :36) affirme que ô toute interaction se dộroule dans un certain cadre, et met en présence dans une situation donnée des personnes données, ayant des propriộtộs particuliốres, et entretenant un type particulier de relation ằ Donc, lors d une inter ction il f ut tenir compte de l rel tion entre les inter ct nts qui dộtermine la faỗon dont on communique C.Kebrat-Orecchioni analyse la relation interpersonnelle selon deux axes : l xe horizont l et vertic l
The horizontal axis pertains to the degree of closeness or distance established between interlocutors during interaction This gradual scale ranges from distance to familiarity and intimacy The horizontal relationship is influenced by both external factors, such as context and the socio-affective ties between participants, and internal factors, including verbal, paraverbal, and non-verbal signs exchanged during the interaction This relationship is characterized by indicators known as "relational markers," which can be non-verbal (such as the physical distance between participants, gestures, posture, eye contact, and facial expressions), paraverbal (including vocal intensity, tone, speech rate, and overlapping speech), and verbal (referring to the topics discussed and levels of language used).
In an interaction, the partners involved are not always equal; one may hold a higher position while the other is in a lower position This vertical relationship reflects the hierarchy among the participants during the interaction It is influenced by both external and internal factors, similar to the horizontal relationship, which involves a power struggle between participants This struggle is shaped by individual characteristics such as age, gender, status, and personal qualities, as well as the dynamics that unfold throughout the interaction.
Vertical relationships are expressed through markers known as taxonomies Non-verbal markers include the physical presence of participants, their attire, the organization of the communicative space, postures, eye contact, and gestural behaviors In terms of verbal markers, one can consider vocal intensity and tone Additionally, the use of address terms, the organization of turn-taking, the structured organization of interaction, and the linguistic cues produced during interaction are the main verbal markers.
Recently, linguistic pragmatics has focused on the role of politeness in verbal interactions This linguistic phenomenon gained attention in the late 1970s through researchers such as R Lakoff, G Leech, and notably E Goffman, P Brown, S C Levinson, and C Kerbrat-Orecchioni with the concept of "face." Politeness, in a broad sense, encompasses all aspects of discourse governed by rules aimed at maintaining the harmonious nature of interpersonal relationships.
3.3.1 Théories de la face et du territoire du moi de E.Goffman
In "The Presentation of Self in Everyday Life," Goffman (1974) emphasizes the importance of understanding social interactions by considering the relationships that connect individuals in copresence, particularly in face-to-face situations He highlights the concept of face opposition when individuals are physically present or distant from one another Building on these two hypotheses, Goffman develops a theory of social relationships based on the notions of "face" and "territory of the self."
According to Goffman (1974), the concept of "face" refers to the positive social value that an individual claims in the context of a specific interaction The theory of "face" highlights a dual constraint among interactants, emphasizing the fundamental rule that individuals must adhere to: preserving their own face while also ensuring that they do not cause others to lose face.
3.3.2 Modèle de Brown et Levinson
According to Goffman, Brown and Levinson identify two types of face for each individual: negative face and positive face Negative face refers to the broad concept of "territory of the self," encompassing physical, spatial, temporal, and cognitive aspects It reflects the speaker's desire for autonomy, emphasizing the need to be free in their actions and to protect their personal integrity In contrast, positive face is defined as the self-image that individuals strive to construct and project onto others during interactions.
In any interaction, four aspects are simultaneously present Additionally, most actions taken during an interaction pose potential threats to one of these four aspects This is why Brown and Levinson emphasize the importance of understanding these dynamics.
(1987 :60) proposent la notion de Face Threatening Act (FTA) qui désigne les actes menaỗants pour les faces Dans cette perspective, les actes de langage sont divisộs en quatre catégories :
- Acte menaỗant pour la face nộgative du locuteur : c est le c s des ctes p r lesquels on propose d effectuer ou s eng ge effectuer quelque chose comme l cte d offre ou de promesse
- Acte menaỗant pour la face positive du locuteur : ce sont les c s de l veu de l excuse de l utocritique ou d utres comportements autodégradants
Acts that influence the negative face of the interlocutor can be non-verbal in nature, such as proxemic offenses, inappropriate physical contact, or visual and verbal aggressions These include intrusive questions, commands, and requests that may undermine the other person's dignity.
- Acte menaỗant pour la face positive de l interlocuteur comme les actes de critique, de r fut tion de reproche d insulte ou d injure…
la a i n a
ou une justification comme ô J i perdu mon stylo est-ce que je peux emprunter le tien ? ằ
+ Les minimisateurs qui rộduisent l men ce d un FTA p r l f ỗon dont on le formule : ô Je voudrais vous poser une petite question ằ, ô Je voudrais juste savoir si ằ
Modal verbs aim to modify or weaken the truth condition implied by a simple assertion (Fraser, 1980: 348) They also allow us to express our personal opinion in the statement (House & Kasper).
1981 : 167): ô Je pense/trouve/crois que… ằ, ô Il me semble que ằ, ô mon avis …/Selon moi … ằ
Disarmers are phrases used by the speaker to anticipate a negative reaction from the listener, such as "I don't want to bother you, but " or "I hope you won't take this the wrong way, but ".
Flatterers often use nicknames, compliments, or praise to influence their audience, saying things like, "Oh, be kind and bring me a coffee," or "Oh, you who are always right, what do you think?"
Positive politeness involves performing acts that enhance the value of the recipient, such as offering invitations, compliments, and expressions of gratitude In interactions, positive face acts (FFAs) are strengthened through intensive formulations, in contrast to face-threatening acts (FTAs).
- Les dverbes djectifs ou pr fixes v leur superl tive (Par exemple : très, tellement bsolument hyper super…
- Les modalisateurs de certitude comme vraiment, réellement, sans aucun doute
The term "declaration" originates from the verb "to declare," which is defined as the act of openly communicating one's intentions and feelings It emphasizes not only the content of what is said but also the manner of expression A declaration of love involves articulating romantic feelings to another person, which can be done verbally or in writing, such as through a letter or a love poem Love itself is a rich and complex emotion, encompassing a wide range of feelings and behaviors, often associated with affection for something, like a passion for singing.
The article discusses love as an emotional attachment within couples, characterized by passion, sincerity, and complicity It focuses on the pragmatic aspect of love, referencing the taxonomy of speech acts, which includes assertives, declaratives, expressives, directives, and promissives (Kerbrat-Orecchioni, 2015: 24) Specifically, it examines the category of declaratives, which enable the speaker to effect changes in the world and align with Austin's performatives Grellet and Kruse's work titled "Declarations of Love" is also referenced in this context.
In 1990, it was emphasized that the declaration of death serves as a critical threshold, beyond which everything is disrupted This point marks the moment when experiences, whether felt or not, are profoundly affected by the concept of death, highlighting its significant existence.
A declaration of love significantly impacts both the declarer and the recipient, serving as a means for the declarer to crystallize previously ambiguous feelings Once love is expressed, it can lead to a profound transformation in the recipient Typically, a love declaration marks a turning point in the relationship between two individuals, potentially transforming friends, colleagues, or acquaintances into lovers Conversely, if the feelings are not mutual, the situation may become complicated, possibly resulting in the end of the existing connection or friendship.
Based on Austin's theory, we identify two forms for making a declaration of love: explicit and implicit forms However, each language has its unique linguistic methods to express love either explicitly or implicitly.
Il s git des nonc s d ns lesquels le locuteur exprime ses sentiments moureux envers le destin t ire d une f ỗon m nifeste et le destin t ire peut les reconn ợtre f cilement
En franỗais, la formulation explicite se caractộrise souvent p r l emploi des verbes performatifs comme ô aimer ằ, ô adorer ằ, ô apprộcier ằ, etc
It is important to consider the paraphrastic variations of these verbs, as their meaning changes depending on the nature and intensity of the sentiment Some examples of these expressions include:
L + être amoureux de/être fou de/tomber amoureux de/avoir un coup de foudre pour/etc + A
L + vouloir/aimer + V (vivre avec/faire des enfants avec/se marier avec/etc) +
Comme ce qui se passe chez les Franỗais, les dộclarations explicites en vietnamien s expriment princip lement p r les verbes comme ô yờu ằ ô th ch ằ, ô thương ằ, etc h h h ng/etc + A
Derivatives come in various forms and can be expressed through different types of sentences, including statements, questions, and requests.
According to Kerbr t-Orecchioni, the phrase "I love you" is a significant performative declaration of love It is important to note that this statement must be expressed during the first occurrence in a conversational history; if repeated, it loses its transformative power in the interpersonal relationship and instead serves to maintain the romantic bond.
Implicit formulations correspond to certain assumptions or underlying meanings of the speaker These play a crucial role in the functioning of the interactional machine (Kerbrat-Orecchioni, 1986: 6), and a good understanding of implicit content requires the interlocutor to engage in additional interpretative work (Kerbrat-Orecchioni, 1986: 5) Each language has its own linguistic means to convey an implicit declaration.
In implicit statements, romantic feelings are expressed through a presupposition (e.g., "Oh my love!") or an implication that requires context to interpret the speaker's intended meaning.
- le passage inopiné au tutoiement :
- C’est idiot mais dès que vous me touchez, je n’ai plus mal nulle part
- ầa va ? comme ỗa t’as pas mal
- Cette fois je sais ce que je fais
- Je peux vous parler sincèrement ?
- Ane ! Ça me fait peur
- Je sens un poids sur la poitrine, une pression Le sentiment de toute ma vie dépend de cette instance
- Celui que vous vivons maintenant ?
- Oui Si je le rate…
Singing romantic songs can often be more challenging than expressing feelings directly A notable example is "Ô Que je t'aime" by Johnny, which Maurice sang for his beloved Lili Beautiful songs and poems that creatively play with words and letters are excellent choices for declaring one's love.
Exemple : Un texte qui ne s'autorise que les lettres contenues dans le nom de la personne qu’il aime
Présentation du corpus
In conducting this research, we considered several possibilities, including literary and cinematic corpora, as well as those composed of everyday dialogues or social media interactions After analyzing these options, we found that each type of corpus presents a specific data collection method that poses certain challenges for researchers.
Initially, we considered a corpus that includes situations drawn from literary and theatrical works, such as novels, short stories, and plays This abundant and easily accessible database can save us significant time and effort However, the literary corpus has long been the subject of extensive research in this field Numerous books on love declarations also draw examples from literary resources.
Constructing a corpus of everyday dialogues from social media appears unfeasible due to the time and effort required to research and record such interactions These types of language acts do not fall under the category of common daily practices Additionally, declarations of love, which carry risks for both parties involved, typically occur in private settings, limiting the number of individuals willing to express their feelings in public spaces like Facebook or Instagram.
We have chosen to focus on a cinematic corpus, as love scenes, particularly declarations of love, frequently appear in comedies, romances, and even action films, facilitating data collection Additionally, the diverse elements that constitute the context of these romantic scenes—such as the spatiotemporal setting, the characteristics of the interactants, and their personal relationships—enhance the richness of our corpus both qualitatively and quantitatively.
Our research focuses on the analysis and comparison of death declaration quotes in French and Vietnamese We have created two distinct corpora consisting of a total of 62 excerpts of death declarations (31 in French and 31 in Vietnamese) These excerpts are sourced from 55 contemporary films (30 French films and 25 Vietnamese films) released between 2000 and 2019.
We have selected films primarily in the genres of comedy and romance, focusing on those that feature declarations of love This choice allows us to analyze two comparable and relevant corpuses.
Additionally, the characters in these films belong to various age groups and social classes, governed by different types of relationships such as professional and friendly Consequently, the expressions used to declare their love are highly diverse.
Analyse du corpus
In both corpora, we observed a significant diversity in the choice of locations for declaring love The scenes can take place in public spaces accessible to everyone, such as parks, streets, restaurants, and cafes Alternatively, they may occur in non-public areas open to a limited number of people, like an airplane cabin, a university amphitheater, or a construction site More discreetly, love declarations can also happen in private settings, such as at home or in a hotel room.
Choosing the right location for a declaration of love often involves careful thought and prior preparation, especially in beautifully decorated settings However, there are also spontaneous love confessions that arise from immediate decisions, such as declaring one's feelings from a window, hanging from a building facade, or pursuing someone in the street or at a construction site.
Lieu public Lieu non-public ouvert un certain nombre de personnes
In both the French and Vietnamese corpora, the majority of death declarations (17 out of 31 in French and 22 out of 31 in Vietnamese) occur in public places, with a notable prevalence of outdoor settings (12 out of 17 French situations and 17 out of 22 Vietnamese situations).
Additionally, our analysis of the Vietnamese corpus revealed four scenarios where the chosen locations for declaring love are romanticized with elements such as lights, balloons, flowers, flying lanterns, or even fireflies These elements aim to surprise the partner and create a more poetic and exciting atmosphere between the two individuals In contrast, the French corpus does not contain any such instances.
Lieux choisis pour déclarer l'amour
Lieu public Lieu non-public ouvert à un certain nombre de personnes Lieu privé Autre
Scène de déclaration d’amour sous le ciel embelli par les lanternes volantes
Déclaration d’amour sur un pont décoré par les ballons
We observed two situations in French and two in Vietnamese that go beyond ordinary declarations of love These are instances where the loving subject and the beloved are not physically present in the same location Such romantic confessions occur through telephone calls, or during television or radio broadcasts For example, Gaspard made a passionate declaration to Alice on the set of the Grand Journal, illustrating this phenomenon (Situation 23 from the French corpus).
Déclaration d’amour travers une chanson dans une émisson la radio veu amoureu la télévision
Firstly, regarding the number of participants, we observe that most situations in our corpora (29 out of 31 statements from the French corpus and 30 out of 31 statements from the Vietnamese corpus) adhere to the communicative schema of love: the conversations occur between two individuals, where the speaker (the subject expressing affection) states "I love you" or its equivalent, conveying the intention to the recipient.
The analysis reveals that the speaker and their subject are often aware of the presence of various recipients, including indirect ones, in 15 situations within the French corpus These interactions typically occur in public or semi-public spaces where multiple individuals are present For instance, declarations made in the street or at the airport, as well as wishes expressed in an airplane cabin, involve other passengers co-existing with the beloved subject Occasionally, spectators even interrupt the speaker's role in the conversation, as seen in Alice's declaration in a university amphitheater, illustrating the dynamic nature of these interactions.
Déclaration d’ lice Balthazar dans un amphithéâtre d’université
In contrast to what is observed among French speakers, it appears that Vietnamese individuals prefer more intimate settings with fewer people present, even when interacting in public spaces This preference has been noted in various situations within the Vietnamese corpus.
Deuxièmement, dans le corpus vietnamien, ce sont principalement des hommes qui font des déclarations d mour envers les femmes (27/31 situations) Tandis que parmi
31 situations en franỗais que nous avons ộtudiộes, 12 sont rộalisộes par des femmes et
Firstly, most statements in both corpora occur in public places However, based on the timing of these confessions, we observe that romantic admissions in Vietnamese tend to be more discreet than those in French, as they often take place when very few people are present in the setting.
Présence de d'autre personnes dans le cardre participatif
Avec présence de d'autres personnes Sans présence de d'autres personnes
The differences in how the French and Vietnamese express their feelings stem from cultural norms In Vietnam, a collectivist society, personal behaviors must adhere to social standards, and actions that deviate from these norms, especially in public, are often viewed negatively, risking loss of face Consequently, declarations of love, which may involve intimate gestures like caresses or kisses, can be perceived unfavorably in public settings Although affection is crucial for maintaining personal relationships, the expression of feelings, particularly romantic ones, is generally limited in daily conversations, even among family members Phrases like "I love you" are often difficult to articulate face-to-face and are more commonly conveyed through written messages or social media Public displays of affection can lead to hesitation and embarrassment for both the declarer and the beloved In contrast, Western societies prioritize individualism, emotional independence, and the freedom to express feelings more openly, with romantic gestures being celebrated Public displays of affection, such as couples kissing or showing affection in parks or streets, are more commonplace and accepted.
In Vietnamese culture, declarations of love are predominantly made by men towards women, reflecting a traditional dynamic where men hold a more advantageous position in relationships They are typically the first to speak and initiate changes in the relationship In contrast, French interactions show a more balanced approach, with both men and women equally capable of expressing their feelings This disparity can be attributed to differing societal views on gender roles Many Vietnamese, including women, still believe that men occupy a higher status in heterosexual relationships, as illustrated by the proverb "The buffalo seeks the pile, but the pile does not seek the buffalo," where the buffalo symbolizes men and the pile represents women Consequently, men are often seen as the pursuers who choose their partners, while women may feel passive and face hesitations that hinder them from declaring their love.
In both corpora, we identified numerous declarations of love where affection is expressed primarily through the verbs "to love" and "to please" in French, or "to love" and "to cherish" in Vietnamese.
Emotions related to love encompass a range of feelings, including longing, joy, and happiness when in the presence of a loved one These emotions also involve a desire for closeness, as well as feelings of jealousy, sadness, and the fear of losing that special person.
[…] Mais quand je suis avec toi, je me sens belle, légère comme une plume, je nage dans le bonheur On dirait des cliches mais c’est vrai […]
L c em nói rằng sẽ không thể hoàn tất mọi chuyện với Nam Phong, và anh ấy cảm thấy không thể chấp nhận điều đó Em lo lắng khi nói rằng mọi chuyện sẽ kết thúc, hai người sẽ không còn bên nhau nữa.
Su t ng anh chỉ ngh v em Ngh ho i, ngh ho i, anh kh ng th chịu đ ng đ c nh c ng kh ng hi u l anh bị l m sao n a
When you say you will tell Nam Phong everything, I can't help but feel uneasy I'm afraid that once you share your feelings, you and Nam Phong might fall for each other I think about you constantly, and I can't bear the thought of it.
Je ne sais pas ce qui m’arrive
- les d sirs et espoirs d avenir