The idea that the proper noun is a rigid indicator (Kripke), is particularly widespread in linguistics. This article presents a new aspect of the proper noun: the proper noun as an indicator of laugh. Moreover, my article identifies, describes and explains the different dimensions of the proper noun according to its manipulation and investment by the laughter who focuses on a collection of rich and varied jokes. The jokes are humorous texts produced by a wide audience. They form an important crossroad of several elements, namely the imaginary, beliefs and popular traditions. In these jokes, the proper noun is the joker of the laughter who dissects it and pulls it from all sides. He also connects the above- mentioned elements in order to make people laugh. Finally, this article summarizes the main humorous processes run by laughers to make the proper noun a laughable indicator in the most contemporary jokes sites, blogs, forums and jokes books collections.

The belabesien talk is a multilingual talk, which combines between colloquial Arabic, standard Arabic and French. The use of French in this talk falls code switching and a lot more because of borrowing this language. This use made of French speakers not having a command of the language. But the appearance of French influences this talk on the one hand by the introduction of lexical items in communicating belabesiens. And these same lexical items are forms of Arabic vowel system. This influence goes beyond the fact that it is the fact that it is language and this culture by the mixing of two cultures as collected since colonialism.

The status of Arabic language, as the target language, among translation trainees, in terms of oral and written expression seems not to fit with theoretical definitions and presuppositions. This is due to many social and ideological factors which go with the trainees along their learning process before the university. They led to a quasi-total failure reaching alarming proportions. We suggest, in this article, to come-back on elements responsible for this degrading situation, defining them and unveiling their impact on trainees learning attitude.

Based on discourse analysis of a dialogical sequence based on a novel of the Black African literature, between the waters of Yves Valentin Mudimbe, we show that the dialogue of the modern novel differs from the classic novel by characteristics related to its insertion into the narrative where he held various functions in the tradition of the novel, was assigned to the pure narrative. The break is also found in the fact that for many authors dialogues fell somewhat superfluous. In the nineteenth century, Flaubert openly defended the dialogues could be accepted only when "significant background ", that is to say when it can well camp characters. Thus, in the traditional literature, the romantic dialogue is almost considered a digression. And as such, it should not be delivered to the reader in direct style, which would be a way to give it great importance. Precisely Flaubert rebelled against the chat style in the novel. The modern practice of dialogue, especially in the romance of Valentine Yves Mudimbe is totally contrary to the recommendations of Flaubert: the chat style seems to be the rule in the style indirect or free indirect style exception. For its part, Proust has a practice of very different dialogue Flaubert. Despite these differences, from the late nineteenth century, inserting dialogue in literary writing is becoming a common practice. Novelists alternate in the novel the narrator s discourse and dialogue of the characters but with a clear predominance of dialogue scenes. It is now discussed in the novel to include dialogue as discursive unit incorporating the narrative together. The descriptions and the actual narrative sections that were many more were replaced by views dialogued scenes that are often conversational or " scenography " under Dominique Maingueneau " validated scenes " and that, in quantity, sometimes occupy substantially all of the text. In this, the construction of the meaning of texts can rely mainly on the analysis of dialogues.

To explore the mechanisms of ethnic passion, we considered the most popular sport in the world that is football, because the passions it unleashes are generally exploited for the benefit of fervent social identity challenges. Some see it as a religion in its own right when others see in him an exuberant neo-paganism. It is in this ambivalence that the football club Olympic Mouloudia of Bejaia (MOB) plunged us, when we tried to analyze the different semiotic symbols that its ultra supporters appropriated to show or claim their sense of belonging. Careful observations of the murals that cover the walls of the city s neighborhoods tell us a lot on that. Through an interdisciplinary approach, including semiotics, anthropology and phenomenology, we found that multiculturalism that can naturally enrich the minority experience is impossible to root in the minds of fans of the team who think they are the only Conservatives Berber ancestral culture. But this last is not a totality because it borrows from other cultures some called universal symbols. Two major objectives are traced in this study: the first is to show how the football passion is exploited for the benefit of identity and mystical claims spanned several millennia, the second tries to remember that the murals are signs direction vectors and multiple meanings all linked to freedom of expression, source, we know, constantly subject to great controversy.