Différences
Ci-dessous, les différences entre deux révisions de la page.
| Les deux révisions précédentesRévision précédente | |
| oeuvres:anna [2016/10/21 13:53] – Virginie Savard | oeuvres:anna [2016/10/21 14:15] (Version actuelle) – Virginie Savard |
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| IMBERT, Patrick, « Parodie et parodie au second degré dans le roman québécois moderne », //Études littéraires//, vol. 19, n° 1 (1986), p. 37-47. +++ Article de revue | IMBERT, Patrick, « Parodie et parodie au second degré dans le roman québécois moderne », //Études littéraires//, vol. 19, n° 1 (1986), p. 37-47. +++ Article de revue |
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| ### **Abstract**\ \ | ### **Abstract**\\ |
| Very often, intertextuality, in the Québec novels of the sixties and of the seventies, is not fully explored because it maintains a tendency towards the metalinguistic powers of parody. Thus, it is through a parody of parody, as performed by Jean-Marie Poupart and Louis Gauthier (rediscovering certain aspects of Joyce) that the questionning of the subject takes place and its corrolaries, absence of originality and disappearance of the origin and of its mythical powers. | Very often, intertextuality, in the Québec novels of the sixties and of the seventies, is not fully explored because it maintains a tendency towards the metalinguistic powers of parody. Thus, it is through a parody of parody, as performed by Jean-Marie Poupart and Louis Gauthier (rediscovering certain aspects of Joyce) that the questionning of the subject takes place and its corrolaries, absence of originality and disappearance of the origin and of its mythical powers. |
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