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This article analyses the importance of the artist's studio in some nineteenth-century French novels. In these texts, the studio comprises many typical motifs, repeated from one novel to the next: the difficulty of its access, the particular quality of its lighting, and specific pieces of furniture – mirror, folding screen, stove and divan. Besides these descriptive aspects, the studio also contributes to secure the artist in his creative role. These invariables participate in the construction of the artist's identity in setting out the different levels of his interactions – the relations to the self, to the other, and to the group – all of them subsumed in the sole motif of the stove, emblematic condenser of these multiple relationships. This analysis also reveals that, for these writers, the studio can also be instituted as the real portrait of the artist by evoking an aesthetic, as well as by staging the social conditions of its occupant. When the artist becomes an important protagonist in his “milieu,” the studio is not a mere “architectural container,” but the real psychological mirror of the hero. In order to explain the metonymic and metaphoric aspects of the studio, this study examines in more depth Jules and Edmond de Goncourt's novel, Manette Salomon (1867), because of the particular status that the authors have given it.
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Editing Historical Texts: Theoretical Issues and Editorial Market Editing historical texts is now relaying school in transmitting a form of literary history ; but the lack of the contexts of these works, and the lack of a scientific knowledge of literary history, leads overall 1) more subtly than school, to the production of value without justification, and 2) to no new literary history.
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AbstractDecadence is the long-ignored topic explored in this study. For over a century, the official line adopted by criticism of all tendencies concealed a fundamental aspect of Nelligan's work, i.e., the specific point of view from which he learned both writing and existence. After recalling the basic elements of the decadent worldview, the study identifies traces of this worldview in the various anomalies of the octosyllabic sonnet " Qe veux m'éluder] ", seen as a typically decadent virtuoso piece.
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The political and economic developments of the Sino-African relationship are no longer to be demonstrated. However, what about its insertion in the long course history of intercontinental exchanges ? The two works I intend to study – Dai Sijie's L'Acrobatie aérienne de Confucius (2009) and Paul Kawczak's Ténèbre (2020) – offer to contribute to filling this gap. Coming from the contemporary francophone field (francophone literature from China for Dai Sijie, from Quebec for Paul Kawczak), these two novels, both characterized by a baroque aesthetic, focus on the creation of a Sino-African literary history, which associates eroticism, sometimes pushed to the most extreme and grotesque, and intertextuality. The Sino-African relationship thus allows us to sketch the outline of an « integrated literary history » (Anthony Mangeon, 2015), in which texts fit together as much as bodies.
Keywords: histoire littéraire intégrée, Chinafrique, intertextualité, francophonie chinoise