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82.More information
SummaryThis study seeks to shed light on the ideology of the literary field in France around 1889. This literary field seems to react to a legitimation crisis due to the newly acquiered preponderance of journalism and public opinion discourse. Against the "democratic spirit" that he fears, the autistic man of letters perceives himself as an "exiled aristocrat" and he posits art as a new religion against prevailing "materialism".
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83.More information
In books on art or literature, we often meet the evocation of certain qualities attributed to works of art or even to their authors by means of general terms such as expression or style. More often than not, however, these terms are not clearly differentiated. Indeed, expression and style, are frequently taken to be synonyms and, whenever this is not the case, one of both terms either erases the other, or is contaminated by its meaning. In this article the author analyzes these terms and attempts to distinguish them.
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Huysmans proclaimed the “crisis of the novel” described by Michel Raimond, a rupture felt all the more strongly in that Huysmans had embraced the naturalist credo more enthusiastically than anyone else. But the author of En ménage and À rebours, the two novels examined in this article, disrupts without disrupting, as if he were seeking not so much to renew the genre as to demonstrate its arrival following the triumph of realism. This is Huysmans' drama: he arrived afterwards. He may well have changed the rules of fiction, but the profession remained the same, albeit deprived of the momentum unique to those who had stamped triumphant realism on half a century. The battle was over. Each of Huysmans' characters knows it and, to some extent, this resigned clear-sightedness is what gives them genuine presence, as Houellebecq noted in Soumission. Huysmans' novelty thus seems paradoxical in that he is the first novelist of the post-novel period.
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