Сөз тіркесімінің қайталануы: Эпанадиплосис және наративтік эпанадиплосис

Figure of speech

Epanadiplosis (from Ancient Greek ἐπαναδίπλωσις/epanadíplôsis, from ἐπί/epí, “on”, ἀνά/aná, “again”, and διπλόος/diplóos, “double”, “doubling in succession”) is a figure of speech in which the same word is used at the end of a clause as at the beginning of a preceding clause. The opposite figure is anadiplosis. It allows for melodic and rhythmic interplay to suggest emphasis or humor. Epanadiplosis can also be used to emphasize a word, a group of words, or an idea. Epanadiplosis is also a narrative figure used in many literary genres, which is called “narrative epanadiplosis”. It's the repetition of an initial scene or motif (in the incipit) at the plot's end (or clausule). It suggests that the narrative is closed in on itself.

Narrative epanadiplosis, or “anaplodiplosis” (anadiplosis in Latin), from the Greek ἀνάπλωσις (“explanation”) and διπλόη (“anything doubled, or divided in two”) is a figure of speech that consists in completing a work, usually a novel, as one has begun it. It consists of repeating, at the very end of a work, the initial motif, event, or configuration described in the incipit. Anaplodiplosis is a way of “coming full circle”. At the end of the novel (or film), the reader or viewer encounters an identical or similar situation to that of the incipit, giving the work a certain depth. It gives narrative coherence to the work as a whole, and above all creates an impression of cycle, of eternal return. In a way, the story recounts the motif of natural cycles, such as the return of the seasons or the succession of generations. For the author, this may be an ironic way of saying that we're back where we started, and that everything that has happened in the meantime is of little importance. Or it may simply be an aesthetic device aimed at creating a kind of symmetry, a regular ordering of the work.

The incipit and epilogue of Émile Zola's novel Germinal form an epanadiplosis: the same character walks alone along the same road. On the first page, he arrives on a cold night in a mining country: “A single idea occupied the empty head of a worker without work and lodging, the hope that the cold would be less intense after daybreak ‘, and on the last page, he leaves Montsou, but in the sunshine, and hope: ’Penetrated by this hope, Étienne slows his walk, his eyes lost to the right and the left, in the gaiety of the new season. ”

Many novels use anaplodiplosis. These include Bernadin de Saint Pierre's Paul et Virginie (1788), Raymond Queneau's Le Chiendent (1933), James Joyce's Finnegans Wake (1939), Paulo Coelho's The Alchemist (1988), Anton Chekhov's The Wood Demon (play) (1889), Eugène Ionesco's The Bald Soprano (1950) and Stephen King's The Dark Tower (1982 to 2004). In Primo Levi's stories and essays (La tregua, I sommersi e i salvati), admittedly far removed from novels, narrative epanadiplosis seals the author's radical pessimism: “What has been can happen again”, so everything is always to be started again.

P. R. O. F. S. opens with a student asking the question “What is epanadiplosis? The answer doesn't come until the end of the film, in a scene in which Laurent Gamelon exclaims “That's epanadiplosis.”, standing next to a horse. Most of Patrick Schulmann's films form an epanadiplosis. Forrest Gump begins and ends with a shot of a feather twirling in the wind. La Vie d'Adèle begins with the heroine leaving her home as a teenager, walking down the street to catch her bus, and ends with Adèle leaving an exhibition as an adult, walking down the street to return home from the same angle. Ma place au soleil begins and ends with shots of a cyclist riding through Paris. Lean On: in the video clip for this song by Major Lazer with DJ Snake and MØ, directed by Tim Erem, the first and last scenes of the clip are an ascending and descending view of the rose window on the ceiling of the palace bedroom. Roman Polanski's films make frequent use of epanadiplosis (or rather, anaplodiplosis) to ensure narrative coherence: in The Fearless Vampire Killers, the sleigh racing scene inverts the fight against the vampires into the vampires' contaminating victory; the concert scene in Death and the Maiden or The Pianist measures the gap between two seemingly similar scenes, but fundamentally different in the narrative of warlike violence that separates them. Ridley Scott's Alien Covenant opens and closes with the same piece of music by Wagner. The film 1917 opens and closes, some 24 hours apart, with the same character dozing against a tree. The first episode of The Middle series opens with an illustration of a plane flying over the state of Indiana, and a steward inviting his passengers to look out of the windows. The same plane appears in the final seconds of the last episode of the final season. The film À couteaux tirés opens and closes with a shot of a mug bearing the words “My house, my rules, my coffee”. At the start of Marcel Pagnol's film Topaze, the honest schoolteacher Topaze is giving dictation to a child who has remained in the classroom. Glancing at the pupil's copy, Topaze sees mistakes and wants to help him spell the word moutons correctly: “c'est à dire qu'il n'y avait pas qu'un moutonne, il y avait plusieurs moutonssses”. At the end of the film, Topaze, now a swindler, glances at the notes his mistress has just taken about their projects in Morocco marble quarries, phosphates, olive trees, sheep and replies: “c'est à dire qu'il n'y a pas qu'un moutonne, il y a plusieurs moutonssses”.