La poétique du rythme d'Henri Meschonnic dans le débat traductologique et esthétique contemporain

The first part of the article focuses on Meschonnic's poetics, showing its origins in Benveniste's "semantics without semiotics" and in "signifiance" as a notion wich distinguishes the meaning of form from "meaning" as a simple relationship with linguistic reference. From this point of view, Meschonnic's theory is strictly involved with Heraclitus' thought of "becoming" as a dynamic idea of language creating the subject of his own creation. This is evident, in the Bible in which it's impossible to separate the verse from the prose, and the meaning of the text is due to its orality and to the specific rhythm of its prosody, conceived as the manifestation of a subject and the foundation of its historicity by its discourse. The second part of this article aims to insert Meschonnic's theory il the contemporary aesthetical debate about rhythm from Bachelard to Garelli, and the third part considers the importance of Meschonnic's theory of translation and rhythm compared with the opinion of some of the most significant French poets of his time, such as Deguy and Bonnefoy, in order to show his originality and modernity and his radical intention to defend critics as a dialectic value.