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This article examines the letters written by Françoise de Motteville, Anne-Marie-Louise d'Orléans and Catherine d'Aspremont in spring 1660. The writers attended the marriage of Louis XIV and addressed several letters to a network of correspondents eager for the latest news of the court. The study of this correspondence sheds light on a network of aristocratic women, its publishing practices and the actions undertaken by its members via letters. The present article also discusses the correspondence between two memorialists, Françoise de Motteville and Anne-Marie-Louise d'Orléans, who employed high society's codes of creative writing. We analyze the relationships they maintain between epistolary writing and memorialist writing, with letters commented or reprised in the memoirs. Our study thus reports on the exchange, circulation, conservation and reuse of letters by women authors in the seventeenth century. A collegial practice, a writing of immediacy, letters ultimately participate in the construction of a personal narrative, with epistolary writing eventually becoming the memoir.
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AbstractThat all epistolary exchange is based on a pragmatic form of giving, on a gesture which, because there is no guarantee of any return, creates a permanent debt between the partners of the exchange — this is what is suggested by Saint-Denys Garneau in the letter written at Sainte-Catherine-de-Portneuf on December 30, 1932. The letter writer undertakes an intense accounting activity which confers a priceless quality on his offering. This article attempts to locate this practice of epistolary giving in the discursive context of Québec in the thirties, at a time when the gift system appeared to major doxographists as an alternative to the utilitarian morality and market economy that had pushed Québec into the Depression. Deeply engaged with the ideology of his time, Saint-Denys Garneau also appears as an epistolary usurer, speculating on the corporatist logic of the gift in order to launch his own writing career.
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AbstractCan the correspondence published in Saint-Denys Garneau's Oeuvres (1971) and his Lettres à ses amis (1967) be read in a social perspective? Faced with letters that seem only to contain the expression of a sensibility torn between " exaltation " and " dejection ", what possibilities are offered to the reader concerned with their inscription in the polis? Three reading strategies will here be illustrated. The first and most traditional consists in reading epistolary texts as a reservoir of analysis and narration using the socio-political world as its theme. The second involves a comparison of Garneau's epistolary prose with the " soçiogramme " of 1930's Montreal such as it has been described by Pierre Popovic. Finally, the third supposes that the reading of correspondence renders possible a new interrogation of the Quebec social discourse of the Depression decade. None of these epistolary reading strategies is more legitimate than the others, nor exclusive of the others, but each one implies a different conception of the specific form that is the personal letter.
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Published in 2008, De la vie dans son art, de l'art dans sa vie (Paris, Seuil) contains the letters exchanged between the actress and writer Anny Duperey and the painter Nina Vidrovitch over a period of 5 years, from 1993 to 1998. This article will first examine the birth of this correspondence as well as the eventual decision to publish a selection of letters, while also noting some formal aspects of the work in question. The two writers explore a variety of subjects in their letters. But one constant in their writings is the desire to explore the question of their identity as female artists. The present study will thus subsequently examine three major themes in the text: first, the question of one's image or physical appearance as a female artist; second, the interconnectedness of their public and private lives; and finally the relationship between artistic creation and epistolary practice.