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                <term xml:lang="en">The Sopranos</term>
                <term xml:lang="en">spectator activity</term>
                <term xml:lang="en">double repetition</term>
                <term xml:lang="en">seriality</term>
                <term xml:lang="fr">sérialité</term>
                <term xml:lang="fr">double répétition</term>
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              <p>One should leave behind a perspective of seriality as purely “industrial” (Adorno/Horkheimer) or "in fabula" (Eco) to account for the semiotic and hermeneutic potential of the serial interval. A “double repetition” (Soulez), structural (through genre, for example) and connected to the matrix (through the unresolved question at stake throughout the series), determines a double interval and different (but complementary) involvements of the spectator. This approach makes it possible to better identify the meaning of certain bifurcations and peculiarities of the episodes, and one can see the very important role of the intervals that come to occupy intermediate, floating spaces. Intervals may be constituted as such even though they did not seem “secondary” (e.g. regarding to the main storyline) or, on the contrary, crucial, depending on whether one changes one’s point of view or inter- pretation plan. We will consider that the serial interval is a space of possible porosity between diégesis and spectator from the point of view of temporality, indicating that complex temporal circuits (projections, rereading, cutting and re-cutting, etc.) are at work to guide or stim- ulate spectator activity. Secondly, we will show that the interval is different depending on whether it is caught in structural dynamics or in dynamics connected to the matrix, including when intertextuality matters. Thirdly, we can note that there is inside spectator activity a more or less virtual capacity for intervallisation, or the creation of intervals.</p>
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              <p>Il faut abandonner une perspective de la sérialité comme purement « industrielle » (Adorno/Horkheimer) ou in fabula (Eco) pour rendre compte de la richesse sémiotique et herméneutique de l’intervalle sé- riel. Une double répétition (Soulez), structurelle (par le genre, par exemple) et matricielle (par la question irrésolue en jeu tout au long de la série), détermine un double intervalle et une implication diffé- rente (mais complémentaire) du spectateur. Cette approche permet de mieux identifier la signification de certaines bifurcations et bizarreries des épisodes et on peut voir le rôle très important des intervalles qui viennent « habiter » des espaces intermédiaires, flottants, voire être constitués en tant que tels alors qu’ils ne semblaient pas secondaires ou, au contraire, essentiels, selon qu’on change de point de vue ou de plan d’interprétation. Nous verrons que l’intervalle sériel est un espace de porosité possible entre diégèse et spectateur du point de vue de la temporalité, en indiquant que des circuits temporels complexes (pro- jections, relectures, découpages et redécoupages, etc.) sont à l’œuvre pour guider ou stimuler le travail spectatoriel. Deuxièmement, que l’intervalle est différent selon qu’il est pris dans une dynamique struc- turelle ou génésique (y compris du point de vue de l’intertextualité). On peut, troisièmement, noter qu’il existe dans le travail spectato- riel une capacité d’intervallisation, ou création d’intervalles, plus ou moins virtuelle.</p>
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