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This article studies how three contemporary war fictions negotiate their relation to historical truth and question their own validity as memory of the past. Zone by Mathias Énard, Incendies by Wajdi Mouawad and Les événements by Jean Rolin testify about a time particularly sensitive to the issue of the borders between historical fact and representation, and suspicious of the claim to truth of a so-called “official” history. Collectively and individually traumatic, the wars evoked in these works provide the opportunity to deconstruct a manipulated memory or to figure out the non-transmissible part of such extreme experiences. The analysis brings out the ethical character of the self-reflective specificity of literature, as it deals with memory processes.
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Following in the footsteps of La Mulâtre comme il y a beaucoup de blanches (1803), many French female writers of the first third of the 19th century made « racial » misalliances the driving force behind a theme closely linked to the genre of the sentimental novel. However, the portrayal of intimacy had a strong political impact : the opposition between the imperative of love and social logic attacked one of the founding fables of the colonial system, replacing it with another vision of the family and advocating a society driven by other values, such as fraternity and compassion. Seemingly wise and consensual, the morality defended by these women novelist is nonetheless the instrument of a political questioning, which testifies in particular to the matrix role played by the Haitian question in fictions where emancipation is as much about race as it is about gender.
Keywords: révolution haïtienne, roman sentimental, roman familial, fiction politique, Ourika
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Characters in novels sometimes change colour several times in the throes of violent emotion: they blush and then pale, or pale and then blush. Could these “changes in colour” (Descartes) be topoi ? This hypothesis is analysed in the eighteenth-century French novel, and more specifically in Marivaux’s La Vie de Marianne and the work of Stéphanie de Genlis. As the understanding and the representation of emotion was changed transformed by the shift from passion to sentiment, these phenomena of blush and pallor together testify to the emergence of a new visual epistemology and advances in descriptive writing, but perhaps also to the difficulties of inventing and disseminating a new topos.
Keywords: rougeur, pâleur, émotion, topos, Marivaux, Genlis, blush, pallor, emotion, topos, Marivaux, Genlis
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Within Leprince de Beaumont's impressive oeuvre, her role as a novelist has remained largely unexplored so far, even if her literary career was marked by a continuous interest in novel writing. This was especially the case during the three year-interlude (1765-1767) between Magasin des Jeunes Dames (1764) and Magasin des Pauvres (1768), when she published three novels: Lettres d'Émérance à Lucie (1765), Mémoires de Mme la Baronne de Batteville (1766) and La nouvelle Clarice, histoire véritable (1767). The internal coherence of this novelistic “triptych” is due mainly to the recurrence of performative reading scenes, which serve as intradiegetic markers of a fictionalization of the novel writing process, appearing in all three of the novels. By doing so, Leprince de Beaumont certainly proved to be an acute observer of the narrative strategies at play in the literary field of her time, which informed a widespread process of inner-fictional legitimation, facilitating the novels' actual publication. Yet, in Leprince de Beaumont's oeuvre, this “scénographie légitimante” also fits in with the author's predominantly didactic view on novel writing. The numerous reading scenes, which she cleverly attributes to exemplary feminine narrators/heroines, at the same time designate the outline of a didactic program surpassing the novelistic regime. In Leprince de Beaumont's fiction, the motivation for writing and publishing the life stories of some of the main characters arises from within the fiction itself, thus being informed by their edifying nature which, in itself, serves to justify the inner-textual transition from private history to public story. In its capacity to lend a voice to intradiegetic readers (turned writers), the epistolary form thus functions as an ideal fictional platform for Leprince de Beaumont's educational purposes.
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Keywords: ÉCRIVAINS MAGHRÉBINS, TRAJECTOIRES MIGRATOIRES, RÉCIT, STRATÉGIES IDENTITAIRES