| Les deux révisions précédentesRévision précédente | Prochaine révisionLes deux révisions suivantes |
| oeuvres:ce_qu_ils_disent_ou_rien [2015/03/13 11:00] – Audrey Thériault | oeuvres:ce_qu_ils_disent_ou_rien [2015/03/23 10:07] – Audrey Thériault |
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| ====== Ce qu'ils disent ou rien ====== | ====== Ce qu'ils disent ou rien ====== |
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| [[auteurs:Annie Ernaux]] | [[auteurs:Annie Ernaux]] - Paris, Gallimard (Coll. Blanche), 1977, 168 p. |
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| {{ Ce qu'ils disent ou rien.jpg?100}} | {{ Ce qu'ils disent ou rien.jpg?100}} |
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| Paris, Gallimard (Coll. Blanche), 1977, 168 p. ; Paris, Gallimard (Coll. Folio, no 2010), 1989, 160 p. | « Ça ne vaut plus le coup d'avoir mes règles. Ma tante a dit : t'as perdu ta langue, Anne ? t'étais plus causante avant. C'est plutôt la leur de langue que j'ai perdue. Tout est désordre en moi, ça ne colle pas avec ce qu'ils disent. » (quatrième de couverture) |
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| ===== Documentation critique ===== | ===== Documentation critique ===== |
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| CAIRNS, Lucille, « Annie Ernaux, Filial Ambivalence and //Ce qu’ils disent ou rien// », //Romance Studies//, vol. XXIV (automne 1994), p. 71-84. +++ Article de revue | CAIRNS, Lucille, « Annie Ernaux, Filial Ambivalence and //Ce qu’ils disent ou rien// », dans //Romance Studies//, vol. 24 (automne 1994), p. 71-84. +++ Article de revue |
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| ###Étude des relations mère-fille dans //Ce qu’ils disent ou rien//### | ###Étude des relations mère-fille dans //Ce qu’ils disent ou rien//.### |
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| DAY, Loraine, « Fiction, Autobiography and Annie Ernaux’s Evolving Project as a Writer : A Study of //Ce qu’ils disent ou rien //», //Romance Studies//, vol. XVII, no 1 (juin 1999), p. 89-103. +++ Article de revue | DAY, Loraine, « Fiction, Autobiography and Annie Ernaux’s Evolving Project as a Writer : A Study of //Ce qu’ils disent ou rien //», dans //Romance Studies//, vol. 17, no 1 (juin 1999), p. 89-103. +++ Article de revue |
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| ###Article portant sur la fiction, l'autobiographie et l'élaboration du projet littéraire d'Annie Ernaux. | ###Article portant sur la fiction, l'autobiographie et l'élaboration du projet littéraire d'Annie Ernaux. |
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| VILAIN, Philippe, « Le sexe et la honte dans l’oeuvre d’Annie Ernaux », //Roman 20-50//, no 24 (décembre 1997), p. 149-164. +++ Article de revue | VILAIN, Philippe, « Le sexe et la honte dans l’oeuvre d’Annie Ernaux », dans //Roman 20-50//, no 24 (décembre 1997), p. 149-164. +++ Article de revue |
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| RICHARDSON-VITI, Elizabeth, « Ernaux's //Ce qu'ils disent ou rien//: Anne makes a spectacle(s) of herself », dans //Dalhousie French Studies//, vol. 78 (printemps 2007), p. 75-82. +++ Article de revue | RICHARDSON-VITI, Elizabeth, « Ernaux's //Ce qu'ils disent ou rien//: Anne makes a spectacle(s) of herself », dans //Dalhousie French Studies//, vol. 78 (printemps 2007), p. 75-82. +++ Article de revue |
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| ### « Ce qu'ils disent ou rien is arguably Annie Ernaux's most comical text, untainted by such serious themes like abortion, as is the case for Les armoires vides. Narrated from the perspective of the fifteen-you-old Anne - although she would describe herself as having "bientot seize ans" (19) - the language of this "monologue interieur accusateur" (Tondeur 176) is adolescent argot that ranges from the colloquial to the outright vulgar. Furthermore, it captures a period in a teenaged girl's life that many females recognize and rememver with their own wry smile: the discovery of and sexual experimentation with the opposite sex, and the separation and distancing from the Mother that this period in a young woman's life necessarily entails. What is particularly intriguing about the work, one of only three books that can legitimately be labeled a novel and which Ernaux herself would willingly place in this category ( Jeannet 21), is the way in which Ernaux enhances the comic character of the text through the use of metonymy. Anne's eyeglasses, or spectacles if you will, schematize the ups and downs that the teenager experiences in her effort to be noticed and found attractive to boys. » (résumé joint à l'article) | ### « //Ce qu'ils disent ou rien// is arguably Annie Ernaux's most comical text, untainted by such serious themes like abortion, as is the case for //Les armoires vides//. Narrated from the perspective of the fifteen-you-old Anne - although she would describe herself as having "bientot seize ans" (19) - the language of this "monologue intérieur accusateur" (Tondeur 176) is adolescent argot that ranges from the colloquial to the outright vulgar. Furthermore, it captures a period in a teenaged girl's life that many females recognize and rememver with their own wry smile: the discovery of and sexual experimentation with the opposite sex, and the separation and distancing from the Mother that this period in a young woman's life necessarily entails. What is particularly intriguing about the work, one of only three books that can legitimately be labeled a novel and which Ernaux herself would willingly place in this category ( Jeannet 21), is the way in which Ernaux enhances the comic character of the text through the use of metonymy. Anne's eyeglasses, or spectacles if you will, schematize the ups and downs that the teenager experiences in her effort to be noticed and found attractive to boys. » (résumé joint à l'article) |
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| * [[http://cupola.gettysburg.edu/cgi/viewcontent.cgi?article=1002&context=frenchfac| Richardson-Viti, 2007, PDF]] ### | * [[http://cupola.gettysburg.edu/cgi/viewcontent.cgi?article=1002&context=frenchfac| Richardson-Viti, 2007, PDF]] ### |