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Cette thèse de doctorat a pour objet le personnage de roman à l'heure où se met en place la vitesse moderne, soit entre la révolution des transports enclenchée vers le milieu du XIXe siècle et le premier tiers du XXe siècle. L'hypothèse posée ici est que les transformations que connaît la vitesse au cours de cette période donnent lieu à de nouveaux « types » de personnage – tels le passant, le passager, l'individu pressé ou perdu au milieu de quelque lieu de transit – qui semblent moins enclins à s'installer dans l'espace du roman qu'à simplement le traverser. Pour mener cette réflexion, nous recourrons à un personnage qui « incarne » en lui-même toutes les questions que l'introduction de la vitesse moderne dans le …
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Early beginnings of «cultural democratization». Intellectuals, art and the people at the turn of the centuryVincent Dubois. [36-56].Cultural democratization policies are «naturally» legitimate but seem to be structurally vague. Their genesis makes this paradox understandable. The debate about «art and the people» at the turn of the century is submitted to the rules of the intellectual field. So, «art and the people» becomes a «bubbling» question with universal purposes, implicating its protagonists'positions. It becomes a «social problem» that political agents have to take into account, but it keeps the marks of the fights that made it appear. An explanation of the paradox, making «cultural democratization» as «natural» as difficult to define can be found in the restoration of the genesis.
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Gauguin, the stranger, the Indian as he used to call himself, left for Tahiti in spring 1891. Savage among the savages, he went far beyond the temptation of the other, By learning and deepening his knowledge of Maori life, he increased the consciousness of his Self and his radical difference. The account of this first experience is Noa Noa. Written on the margin of painting, it constitutes an important reaction against contemporary french exotic literature.
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The birth of the psychological novelThe appearance of the French psychological novel between 1880 and 1890 corresponds to a certain strategy of reconversion. This strategy should be seen in relation to the economic situation of the different literary forms and their position in the hierarchy of legitimacy. Grouped round Paul Bourget we find a collection of writers who had left to the way-side the encumbered though prestigeous field of poetry. They preferred the genre novel which was then in full expansion but often considered to be a less noble literary form. They endeavoured to elevate the status of their new field of activity by imposing the utilization of schemes borrowed from the psychology of Taine which was a dominant intellectual factor of the epoch. The consecration by these writers of this literary form is due to the importance of their social and cultural capital. As a consequence, the naturalist novel produced by writers of lower middle class origin was relegated to an inferior position in the hierarchy of literary forms.