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AbstractContrary to the thesis regarding the abusive influence of abbé Henri-Raymond Casgrain on Laure Conan, at the level of enunciation, Angéline de Montbrun is already spontaneously oriented towards an emphasis on the value of history. Based on a semiotic analysis of narration and enunciation in the historical novels of Quebec's first female novelist, this article offers the following hypothesis: a novel attempts to induce the reader to add value to the fact of telling a story in writing. The enunciative strategy is to emphasise the value of history — related to writing — by establishing a fictitious verbal interaction. In conclusion, it is asserted that if, as liberal ideology has contended since I960, these historical novels belong to our prehistory, the reason is that they establish an equation of identity between literarity and historicity. From a literature constituting the "the sacred heritage of the French language" to a literature that becomes modern through the wager of a "country to be invented" (initially in words), the shift would imply no more than becoming aware of the fact that history remains to be made — and is a matter of writing. Conversely, it would be pointless to try and establish an equation of identity between historicity and literarity.
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AbstractOver 200 récits have been published in Québec since 1980, a récit being defined as any book bearing the generic term "récit" on its title page. The article proposes to identify the specific characteristics of this group (the poetics of the contemporary récit), arguing that the récifs movement towards autonomy began in the mid-sixties and led, some time during the eighties, to a more definite generic awareness. Capable of encompassing autobiography and fiction, short and long forms, poetry and narrativity, the récit seems characterized by hybridity and the concerns of contemporary literature. However, the genre's historical evolution has also created a reading pact and a relation to subjectivity that have ensured its long connection with self-expression and the existential quest. Since the récit has never constituted a "strong" generic group, its present status is probably temporary. However, this analysis does lead to its removal from the category of strict narrative fictions.
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185.More information
In Trois ans avec Derrida (Three Years with Derrida), his biographer, Benoît Peeters, notes that Jacques Derrida's seminar was designed “like a theoretical serial which, aside from its slumps and convolutions, nonetheless maintained a kind of suspense and featured genuine cliff-hangers at the end of each session” (Peeters, 2010). Can one truly compare a seminar to a novelistic device like that of deferred narrative ? Such is the question to which I devote my attention in this article, a question which is discussed here in a dual — historical and formal — perspective. I thus ask “what is a seminar ?” and how, in light of Derrida's seminars in particular, it becomes a work. In closing, I meditate on the notion of “deferred thinking” in Derrida's teaching, using the central concept of différance as my starting point.
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Keywords: roman épistolaire, Mlle Poulain de Nogent, écriture des femmes, amitié, monophonie
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Mikhail Bakthin, the great Russian theoretician of the novel, did not have the opportunity - for short-term reasons - to analyze in depth the work of Marcel Proust. In this article, written as a contribution to the colloquium “Bakhtine / Proust, glances crossed”, organized by Tatiana Victoroff and Luc Fraisse at the Gorky Institute of Moscow (October 2019), it is a question of this failure and its repercussions on the history of literature, especially for the evolution of literary genres between Dostoievsky's polyphonic novel and the intertexte, post-novel genre whose development implies the recognition of In Search of Lost Time as an intermediate narrative genre, the autofiction.
Keywords: Bakhtine, Proust, Dostoïevski, Luc Fraisse, Tatiana Victoroff, Gorki, intertexte, autofiction, Bakhtine, Proust, Dostoïevski, Luc Fraisse, Tatiana Victoroff, Gorki, intertexte, autofiction
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This paper deals with the development of the modem English Novel during the second half of the Eighteenth Century. To the decisive question of how the new form of writing that we call now " novel " does justify or legitimate itself, it would seem that forms of conversation, examined in this paper, provide elements of an answer. A reading of Henry Fielding's Tom Jonesand of Sterne's TristramShandyshows in which ways the novel asserts itself as a " civic " form of conversation.
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