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331.More information
AbstractTo tell a story is to lie. Narrators of all stories put forward a fictional, invented, and imagined paradigm — in short, a lie. Many writers, including Vargas Llosa, Nietzsche and Proust, guarantee the central position of lying in telling stories. Even more interesting is the phenomenon of lying characters. Herein lies Sand's contribution. In two novels especially, Jacques and Ma soeur Jeanne, Sand puts unreliable characters into play, characters that lie, that lie to each other, and that lie to themselves. And while there are narrators who lie, their lies go beyond the falsehood that is narrative fiction to deceive the reader. Fictional lying occupies a crucial rank in Sand's works that is just as central to the narrative as to the thematic structure.
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336.More information
How can we understand, on a theoretical level, the presence of music in the French novels of the eighteenth-century? This article examines this question in the light of prevailing theories on the presence of music and prose fiction. By identifying major discrepancies between the two, the aim is to provide a different theoretical basis for our understanding of music in eighteenth-century French narrative.
Keywords: Novel, Roman, Music, Théorie musico-littéraire, literary, Intermédialité, Theory, Intermediality
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338.More information
The aim of this short essay is to provide a reason for writing. To reflect upon the meaning of literary experience - i.e. upon what it is to create and what it is that is created - is also to problematise this reflection. The first two parts of the essay ( le rapport critique, le rapport génétique) concern this issue. The third part ( le rapport ontologique), which radiates out from the notion of the solitude of being, posits a single meaning for literary experience from the point of view of language (writing) and of reality (the work produced).
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339.