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Французские слова, заимствованные английским языком

Whereas Lydia is bril- liant at performing Marivaux, Krimo fails miserably, inciting dissatisfaction in his teacher and tension for the spectators. Despite the continual repeti- tion, through rehearsals, his performance never arrives where it should. He imitates someone! Do you realize the importance of language in this play and in this scene?

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Modify your language! Krimo is unable to relinquish his everyday parlance, the colloquial everyday tone and tenor of la tchatche, a vernacular slang spoken predominantly in the suburbs of French urban centres and that carries within it a significant number of Arabic words. In each of these two cases, the space and time of a meal can be read metonymically. If the dinner table typically serves as a communal space where one might imagine fluid communication, here, it is momentarily stultified. The family of Tunisian origin is composed of the parents who have separated, and their numerous, presumably French-born, offspring who are accompanied by spouses and children.

One of the daughters of the protagonist is married to Mario, a jovial man of Italian origin who entertains himself — and the others Downloaded by [Harvard Library] at 09 April at the table — by attempting to pronounce a number of Arabic words. Figure 2: The dinner table in La Graine et le mulet toutlecine. Whereas characters of Maghrebi origin who replicate spoken French appear in literature and film with regularity, seldom do so-called Franco-French char- acters endeavour to speak Arabic, as happens in this sequence.

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The paradigm of the immigrant-as-guest Rosello adapting to a host country through language and custom is nowhere more prevalent than in contemporary France. In order to celebrate the success of his entrepreneurship, he invites a number of French bureaucrats — the same ones who earlier in the film had denied him the necessary financing for his project — who distin- guish themselves by making misplaced and awkward comments.

Throughout the entire film, Slimane is, more often than not, silent; it is predominantly the women in the film — from Rym and his daughters to the female bank employee — who control and manipulate language to their benefit. In both the scenes mentioned above that take place around a dinner table, imitation fails and new idioms are not born. Pointing to the variety of positions between those who wish to integrate Mario during the family scene at the dinner table and those who mimic language ignorantly the French bureau- crats , Kechiche also suggests that the dichotomous, or chiasmic, construction of Arabic versus French, within the communities represented in his films, is in fact more complex.

Furthermore, la tchatche has become the object of interest for various lexicolo- gists and publishing houses specializing in dictionaries see, e. Goudaillier ; Rey and Disiz la Peste Clearly intent on drawing our attention to registers of language and their attendant spaces, Kechiche places this performance not in a school or in the banlieue, but in the commonly featured Paris metro.

Key scenes happen inside, around or just outside the underground train system. Typically considered simply as a means of transportation, usually as part of a work routine, a channel to a very specific named place, in this film, the metro holds an entirely different func- tion. It is indeed the first place we see Jallel after the immigration office, and it is the locus of his temporary jobs, as we see him alternately selling fruit, flowers and newspapers in the subway.

It is also where he continually dodges police controls — until the penultimate scene when he is caught — and where Kechiche chooses to place him when he is distraught following the failed marriage. Yet, in intertextual reference using the metro for daily commerce, Jallel is not part of those users who avail to his film that of it to arrive at any particular destination.

When selling fruit does not earn him Voltaire was shot. References to place by the need to solve the technical problems they are tackling.

Jallel differs considerably from the typical metro user in his activities. See unabashedly demonstrates that his performance is a way of earning a living. Downloaded by [Harvard Library] at 09 April is apparent and where the law of the everyday is called into question by his very presence. After we see Jallel entering a metro station on his way to sell flowers, the camera hovers over the stop of the Place de la Nation for two long minutes, and then shows him coming out flanked by policemen.

Although he has eluded the common ascriptions of the every- day, that is to say his daily life differs from most of those in his surround- ings, he has not managed to dodge the law of the state.

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The final scene is his deportation. In this sense, he astutely tends towards an unmoor- ing of subjects of Maghrebi origin, from what Timothy Brennan calls ethnic baggage Organic Fresh Food , Speciality Sausages. Aperotime , Nibbles , Tinned Fish. Maille Vinaigre de Vin Chardonnay ml. French Poultry , Organic Fresh Food. Teisseire Hydro Fruit Shoot Peche 6x20cl.

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