Publication: Les mots bizarre, bizarrerie/bizarro, bizarría et leur valeur heuristique dans la critique française et espagnole du XVIIe siècle
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2016
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Presses Universitaires de Paris Ouest
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Abstract
Peut-on utiliser l’adjectif “bizarre” et le substantif “bizarrerie” pour les appliquer à des champs notionnels relevant du baroque? Sans doute. Ce ne serait même pas par dérive sémantique, comme ce fut le cas lors de l’introduction du mot baroque pour désigner un art, un style, en rupture avec le classicisme, à partir d’un terme d’origine portugaise de sens fortement éloigné. D’ailleurs, plus que de dérive sémantique, c’est de proximité de signifiés qu’il convient de parler, ce qui expliquerait les glissements relevés. Un sème commun les rapproche sinon les associe: celui d’irrégularité, de décrochement par rapport à une norme. Furetière a déjà relevé qu’une perle était déclarée “baroque” lorsqu’elle était irrégulière, et nous avons vu que, dans la langue du XVIIe siècle, “bizarre” est souvent pris négativement. Au demeurant il procède de l’italien où il signifie coléreux, dans un premier temps, puis extravagant. Oui, en français “bizarre” et “baroque” peuvent, sinon constituer un binôme, être considérés comme voisins. Si “bizarro” et “bizarría” sont susceptibles de détournement de sens en espagnol, c’est précisément parce qu’ils sont chargés de positivité, ce dont les traducteurs ne se sont pas toujours avisés. Les gens d’esprit non plus.
Can we use the adjective "bizarre" and the noun "bizarrerie" to apply them to baroque notional fields? Without a doubt. It would not even be by semantic drift, as was the case when the baroque word was introduced to designate an art, a style, breaking with classicism, from a term of Portuguese origin of strongly distant meaning. Moreover, more of than semantic drift, it is of proximity of signified that it is appropriate to speak, which would explain the shifts noted. A common "seme″ brings them closer if not associates them: that of irregularity, of a setback compared to a norm. Furetière has already noted that a pearl was declared "baroque" when it was irregular, and we have seen that, in the language of the seventeenth century, "bizarre" is often taken negatively. For the rest, it comes from Italian, where it means angry at first, then extravagant. Yes, in French "bizarre" and "baroque" can, if not be a pair, be considered as neighbours. If "bizarro" and "bizarría" are likely to misuse meaning in Spanish, it is precisely because they are loaded with positivity, which translators have not always advised. People of mind either.
Can we use the adjective "bizarre" and the noun "bizarrerie" to apply them to baroque notional fields? Without a doubt. It would not even be by semantic drift, as was the case when the baroque word was introduced to designate an art, a style, breaking with classicism, from a term of Portuguese origin of strongly distant meaning. Moreover, more of than semantic drift, it is of proximity of signified that it is appropriate to speak, which would explain the shifts noted. A common "seme″ brings them closer if not associates them: that of irregularity, of a setback compared to a norm. Furetière has already noted that a pearl was declared "baroque" when it was irregular, and we have seen that, in the language of the seventeenth century, "bizarre" is often taken negatively. For the rest, it comes from Italian, where it means angry at first, then extravagant. Yes, in French "bizarre" and "baroque" can, if not be a pair, be considered as neighbours. If "bizarro" and "bizarría" are likely to misuse meaning in Spanish, it is precisely because they are loaded with positivity, which translators have not always advised. People of mind either.