Cet article se propose d’examiner le roman de Pascal Quignard, tout en s’appuyant sur une poétique de l’anamorphose qui s’y déploie comme modalité de la construction de la narration. Le principe d’anamorphose se dit d’une technique de représentation en arts (notamment en peinture) reposant sur « une déformation réversible d’une image » qui ne retrouve son apparence primitive que lorsqu’elle est observée sous un certain angle. L’image distordue et défigurée s’appelle anamorphose offrant de multiples visions erronées. Ce jeu d’anamorphose gravite autour du jeu d’échange entre texte et image donnant lieu à une écriture de l’image tout en offrant à la fois une nouvelle perspective sur l’art de la narration chez Quignard. Il masque la réalité tout en la montrant, et suppose ainsi une esthétique du dévoilement en faisant apparaître une réalité autre, celle que l’auteur révèle et celle dans laquelle il place son lecteur/son personnage, à qui il permet d’affronter progressivement le secret de sa vie par le biais de son reflet incarné dans une collection d’objets épars qui ne renvoient qu’à une vraie et seule figure première reconstruite en anamorphose: le personnage de Flora, la petite condisciple qu’Edouard, le personnage principal, avait aimée autrefois.

French abstract: Si les textes de Pascal Quignard sont immé diatement reconnaissables, c’ est d’ abord parce qu’ ils offrent au lecteur un plaisir iné dit, celui d’ une é criture ré flexion où le sujet se dé cline par fragments à travers les divers supports. En problé matisant des fictions en narrations elliptiques ou encore en conte philosophique, l’ auteur n’ a de cesse d’ é prouver le lecteur, lui suggé rant des possibles lectures pour en faire une marque de l’ extrê me contemporain. Sollicitations à une participation de construction du sens figurant en filigrane, l’ auteur, certes, active à cette construction par un texte en contretemps qui fracture un continuum temporel/langagier en quê te de l’ origine. Nous proposons de relever quelques marques discursives de l’ extrê me contemporain à travers les textes de l’ auteur, en particulier celles du sujet qui fait un retour en force mais un sujet distinct, composite, propre à l’ extrê me contemporain. La dé marche thé orique s'appuiera principalement sur les apports de l'analyse du discours avancé s par Maingueneau, Charaudeau et Blanckeman. English abstract: The reason why Pascal Quignard's texts are immediately recognized is that they offer the reader an unprecedented pleasure of reflective writing where the subject is broken down into fragments through the various media. By problematizing fictions into elliptical narratives or even into philosophical tales, the author never ceases to test the reader, suggesting possible readings to him and making it a mark of the extreme contemporary. Solicitations for participation in the construction of meaning appearing in the background, the author, of course, activates this construction through an off-beat text that breaks up a temporal / language continuum in search of the origin. We propose to identify some discursive marks of the contemporary extreme in the author's texts, in particular those of the subject which is making a comeback but a distinct, composite subject specific to the contemporary extreme. I. DISCUSSION The large production of literary works, the marketing techniques of publishing houses, the development of technology now offer an impressive selection of books to the most demanding readers. The media themselves offer many possibilities, from low-cost books to luxury editions or digital e-readers. However, the fashions quickly abandon certain titles and analysts offer markers, thus helping to locate in this bookish immensity. Specialists such as Dominique Viart, Pierre Guyotat, Antoine Compagnon have established rankings that we will discuss later. From these markings, a name caught our attention in that apparently met the innovation criterion, creative and aesthetic material, of the extreme contemporary. As presented by Michel Chaillou, Jacques Roubaud, and Michel Deguy at a conference in 1986, “ The extreme contemporary is to put all the centuries together, it is a contemporary encompassing the extremes. ” (Chaillou, 1987) We cannot speak of a new literary movement but of a direction likely to engender a new aesthetics, as Dominique Viart would say. To understand its peculiarities, we have briefly presented the contemporary extreme, in particular, its ins and outs, and then, we will study certain brands through texts by Pascal Quignard. The split between the two dominant ideologies, May 68, and the oil shock of 1973 generated transformations in the way French society employs thought. The era of suspicion brought by the New Novel has spread to different areas of quotidian and intellectual life. Besides, the communication science and the Internet have contributed to these changes, thus the relationship to language itself has been upended, and the language has lost its obvious relationship to meaning. Even anthologies have adapted their grouping system; thematic, psychological, structuralist approaches have shown their limits; new approaches are required. Experts in linguistics have proposed different names; furrows works, glitter works, folds works, symptom works or consenting, concerting, and disconcerting literature. These names have one thing in common which is focusing on the language process (i. e., in its constitution, its objective, its interpretation, or its reception). From this perspective, the term extreme contemporary makes it possible to reconcile these titles. The contemporary extreme sets a distance from traditional reading grids, going so far as to mix genres, registers, forms, and media. Maintaining to be stemming from the legacy of the ancients, the extreme contemporary arises as a process of culmination and maturation of thought phenomenon. Our present contribution attempts to identify certain characteristics of contemporary extreme writing such as the return of the subject and the return to fiction. Our body of study focuses on a collection of novels by French writer Pascal Quignard, a multi-award-winning contemporary writer. We see the signs of a subject refocusing on itself that had undergone elimination and sometimes rejection. Having become an author, reader, narrator, the Quignardian subject strives to construct himself through critical, metaphysical, religious, and philosophical fragments. The result is a modification of the problem since the reading pact is distorted and the dissociation of the author, the narrator, and the reader, which seemed clear, has become inadequate. It is in this trend that the Quignardian subject prolongs the change. Pascal Quignard does not seek to meet the expectations of the readership; he will move them more in the direction of critical and reflective activity through transitive writing. No longer aligning with pre-established paths, the subject displays his subjectivity in the face of the steamroller of globalization and its standardization. II. CONCLUSION Societal and ideal evolutions created a shift of the subject compared to previous eras and more particularly when the “ subject” was erased by the New Roman. We have seen how the subject "spreads out", going against the movements, currents, or previous aesthetic and/or theoretical schools. Neither manifesto nor slogan, however, the indications of the contemporary extreme are becoming clearer and are declined in writing of oneself enlightened by ancestral knowledge and awareness of the complexity of the current world.

No Abstract

In this paper we shall first introduce the Pascal-like triangle, using a generalization of the recurrence relation for arrays of Pascal triangle. Then we define the Pascal-like functional and Fermat-like matrices and investigate their algebraic properties. Finally, we obtain some binomial identities, using these matrices.

Abstract. In this article, we delve into the fascinating world of numerical triangles similar to Khayyam-Pascal triangle. Our focus is on triangles that are comprised of natural numbers. Along with a combi-natorial interpretation, we also propose an algebraic interpretation for the elements in most cases. We explore in details the triangle of coefficients of Chebyshev polynomials (Chebyshev triangle). Through our analysis, we derive a recursive relation for its elements. This finding sheds new light on the properties of this intriguing numerical construction. To further enhance our understanding of these triangles, we also present new images related to the Catalan, Bell, and Chebyshev triangles. These images provide a clearer visualization of the numerical triangle construction. Overall, this article offers a comprehensive exploration of numerical triangles similar to Khayyam-Pascal triangle and examine some of their properties and relationships for better understanding of these constructions.

The main object of this paper is to define a new class of univalent functions and two subclasses of this class along with the Pascal distribution associated with convolution and subordination structures. We obtained a number of useful properties such as, coefficient bound, convolution preserving and some other geometric properties.

In French:Clore le vaste cycle romanesque des Rougon-Macquart par un roman qui se démarque par l’absence quasi-totale des images temporelles (ces dernières dans la conception durandienne du terme) et qui chante dans l’achèvement de l’amour idyllique, la naissance d’un fils “rédempteur”, peut nous frapper de stupeur au prime abord. Il nous semble cependant que la genèse de la figure du Fils avec laquelle le roman, et de facto, l’ensemble de la saga zolienne touche à sa fin, soit inductrice du triomphe de l’imaginaire zolien vis-à-vis de l’expérience temporelle issue de la fuite du temps.Nous nous pencherons tout au long de cet article sur la manière par laquelle le romancier _ tout en développant un système figuratif efficace _ procède pour vaincre les forces négatives de la temporalité. Nous cherchons à saisir dans quelle mesure l’émergence de certaines structures ou certaines figures archétypales est capable de rejeter l’angoisse existentielle de l’imaginaire zolien vis-à-vis de l’écoulement temporel et à mettre parallèlement en lumière les structurations figuratives qui assurent le retour équilibrant de l’imagination créatrice sur la gamme de la syntonie.   In English:Closing the vast novelistic universe of Rougon-Macquart by a novel which distinguishes from the other twenties by the absence of the temporal images (as they are defined in durandian acceptation of term) and singing in an optimistic atmosphere of idyllic love the birth of a son who is supposed to be the savior of the forthcoming century, may appear, considering the general canons designated by the Naturalism, at the first stage, quite astounding. However, we believe that the genesis of the figure of the “Son”, by which this novel and also the whole series of Rougon-Macquart come to the end, infers the triumph of Zola’s imagination in its ultimate encounter with the philosophical question of the leak of the time. We are supposed to figure out, throughout this paper, the extent and direction of the emergence of some archetypal figures may defeat the existential angst that the author’s imagination has met, while he was facing, particularly in previous novels, the terrifying experience of the time. We are also intended to show how the figurative structures of the diegesis may restore the equilibrium of the creative imagination and how they are able to tune up its final orientation in syntonic features.

IN FRENCH:L’aspect psychanalytique de l’écriture romanesque chez Pascal Quignard a été signalé à maintes reprises par les critiques littéraires. Le Salon du Wurtemberg qui bénéficie plus que les autres romans Quignardiens d’une ample élaboration romanesque, pourrait bien illustrer cette «fictionalisation de la cure psychanalytique» chez cet écrivain. Le narrateur de ce roman se retourne comme malgré lui vers un passé obsessionnel qu’il espère conjurer par l’écriture. La présente étude se propose d’analyser, en recourant à la narratologie, les techniques narratives mises en oeuvre par le narrateur Quignardien, ainsi que l’adaptation de ces dernières à l’objectif du narrateur qui est de faire cesser le retour interminable d’un passé traumatique. Selon Freud, l’abréaction du refoulé exige la «réconciliation» de l’analysé avec ses souvenirs traumatiques. L’étude du mode narratif du Salon du Wurtemberg nous permettra de préciser le degré de cette réconciliation chez le narrateur. En effet, portant sur la manière de représentation du monde romanesque, le mode narratif détermine la distance à laquelle se tient le narrateur par rapport à ce qu’il raconte. Ainsi, par l’étude du mode narratif, nous serons en mesure de préciser si le narrateur a réussi à évoquer entièrement et sans détours ses souvenirs obsédants. In English:Literary critics have repeatedly referred to the psychoanalytic aspect of writing in the fictional works of Pascal Quignard.The Salon in Württemberg, which compared to other novels written by Quignard possesses a more extensive fictionalization, can well reflect the “fictionalization of psychoanalytic therapy” by this author. The narrator in this novel has an unwanted tendency to recall his agonizing and repetitive past and hopes to drive it away from himself by writing down this past. The present study seeks to study the narrative practices employed by the narrator of the story, and also to adapt these methods with the purpose of narration, which is putting an end to the frequent return of the past, with the help of narratology. According to Freud, getting rid of suppressed memories requires that the person under treatment to “tolerate” his/her bitter memories. Studying the narrative aspect in The Salon in Württemberg gives us the opportunity to find out about the extent of this tolerance by the narrator. The narrative aspect that studies the method of representing the fictional world shows how far the narrator has distanced from what he narrates. Thus, by studying the narrative aspect, we can determine whether the narrator has succeeded to fully and explicitly recall his agonizing memories or not.

The fundamental concept of statistical convergence first was put forward by Steinhaus and at the same time but also  by Fast \cite{Fast} independently both for complex and real sequences. In fact, the convergence in terms of statistical     manner can be seen as a generalized form of the common convergence notion that is in the parallel of the theory of usual convergence. Measuring how large a subset of the set of natural number can be possible by means of asymptotic    density. It is intuitively known that positive integers are in fact far beyond the fact that they are perfect squares. This is due to the fact that each perfect square is positive and besides at the same time there are many other positive integers. But it is also known that the set consisting of integers which are positive is not larger than that of those which are perfect squares: both of those sets are countable and infinite and therefore can be considered in terms of $1$-to-$1$ correspondence. However, when the natural numbers are scanned for increasing order, then the squares are seen     increasingly scarcity. It is at this point that the concept of natural density comes into out help and this intuition becomes more precise. In this study, the above mentioned statistical convergence and asymptotic density concepts are     examined in a new space and an attempt is made to fill a gap in the literature as follows. Stancu type extension of the widely known Chlodowsky type \linebreak$\left( \lambda,q\right)  $-operators is going to be introduced. Moreover, the    description of the novel rough statistical convergence having Pascal Fibonacci binomial matrix is going to be presented and several general characteristics of rough statistical convergence are taken into consideration. In the second place, the approximation theory is investigated as the rate of the rough statistical convergence of Chlodowsky type $\left(\lambda,q\right)$-operators.