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oeuvres:la_deuxieme_mort_de_ramon_mercader [2016/10/24 22:46] Audrey Thériaultoeuvres:la_deuxieme_mort_de_ramon_mercader [2016/10/25 13:58] (Version actuelle) Audrey Thériault
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 « Sous son activité de directeur adjoint d'une société espagnole de commerce, Ramón Mercader cache sa véritable identité et sa mission d'agent secret au service de l'U.R.S.S. Cible pour les uns, appât pour les autres, il est victime, à Amsterdam, d'un guet-apens et on le retrouve "suicidé" dans sa chambre tandis que les services de contre-espionnage soviétiques fabriquent un dossier destiné à le faire passer pour traître. « Sous son activité de directeur adjoint d'une société espagnole de commerce, Ramón Mercader cache sa véritable identité et sa mission d'agent secret au service de l'U.R.S.S. Cible pour les uns, appât pour les autres, il est victime, à Amsterdam, d'un guet-apens et on le retrouve "suicidé" dans sa chambre tandis que les services de contre-espionnage soviétiques fabriquent un dossier destiné à le faire passer pour traître.
-À travers son héros et son homonyme réel, qui fut l'assassin de Trotsky -, l'auteur évoque toute l'histoire du mouvement communiste de la guerre d'Espagne à la mort de Staline, et au XXe Congrès. Cette "matière" du livre, d'une extraordinaire richesse, est comme le sang noir qui irrigue le corps du roman d'espionnage. » (Présentation de l'éditeur)+À travers son héros – et son homonyme réel, qui fut l'assassin de Trotsky , l'auteur évoque toute l'histoire du mouvement communiste de la guerre d'Espagne à la mort de Staline, et au XXe Congrès. Cette "matière" du livre, d'une extraordinaire richesse, est comme le sang noir qui irrigue le corps du roman d'espionnage. » (Présentation de l'éditeur)
  
 ===== Documentation critique ===== ===== Documentation critique =====
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 ### **Abstract** ### **Abstract**
  
-The first chapter is introduced by a synopsis of the French Literary Prizes, their origins, evolution and rivalries.+The first chapter is introduced by a synopsis of the French Literary Prizes, their origins, evolution and rivalries. The second chapter is an historical review from the creation of Goncourt and Femina and other great prizes, the Grand Prix du Roman, Renaudot, Interallie and Medicis, until 1960. The third chapter goes directly into the chosen decade with historical environment and literary studies about ten award-winning novels : (1) 1961: Henri Thomas, //Le Promontoire// (Gallimard); (2) 1962: Yves Berger, //Le Sud// (Grasset); (3) 1963: Roger Vrigny, //La nuit de Mougins// (Gallimard); (4) 1964: Jean Blanzat, //Le Faussaire// (Gallimard); (5) 1965: Robert Pinget, //Quelqu'un// (Minuit); (6) 1966: Irene Monesi, //Nature morte devant la fenêtre// (Mercure de France); (7) 1967: Claire Etcherelli, //Elise ou la vraie vie// (Denoel); (8) 1968: Marguerite Yourcenar, //L'oeuvre au noir// (Gallimard); (9) 1969: Jorge Semprún, //La deuxième mort de Ramón Mercader// (Gallimard); and (10) 1970: Francois Nourissier, //La Creve// (Grasset).
  
-The second chapter is an historical review from the creation of Goncourt and Femina and other great prizes, the Grand Prix du Roman, Renaudot, Interallie and Medicis, until 1960. +The presentation of the Femina Committee appears in a fourth chapter with several statements obtained from some of the ladies who took part in the committee and an inquiry made as to those people who form the jury now, as well as the General Secretary. The mechanisms of voting and their opinions about literary matter are also explained. The fifth chapter shows a sociological view about the novel and its public, editorial politics, relationships between the critic and the prizes, besides the existence in the decade of two phenomena like the "Nouveau Roman" and "Mai 68". This work concludes by revealing relations between the sociological aspects treated and the literary fact of Femina Prizes. Finally, a group of eight indices compliment the previous information. ###
- +
-The third chapter goes directly into the chosen decade with historical environment and literary studies about ten award-winning novels: (1) 1961: Henri Thomas, //Le Promontoire// (Gallimard); (2) 1962: Yves Berger, //Le Sud// (Grasset); (3) 1963: Roger Vrigny, //La nuit de Mougins// (Gallimard); (4) 1964: Jean Blanzat, //Le Faussaire// (Gallimard); (5) 1965: Robert Pinget, //Quelqu'un// (Minuit); (6) 1966: Irene Monesi, //Nature morte devant la fenêtre// (Mercure de France); (7) 1967: Claire Etcherelli, //Elise ou la vraie vie// (Denoel); (8) 1968: Marguerite Yourcenar, //L'oeuvre au noir// (Gallimard); (9) 1969: Jorge Semprún, //La deuxième mort de Ramon Mercader// (Gallimard); and (10) 1970: Francois Nourissier, //La Creve// (Grasset). +
- +
-The presentation of the Femina Committee appears in a fourth chapter with several statements obtained from some of the ladies who took part in the committee and an inquiry made as to those people who form the jury now, as well as the General Secretary. The mechanisms of voting and their opinions about literary matter are also explained. +
- +
-The fifth chapter shows a sociological view about the novel and its public, editorial politics, relationships between the critic and the prizes, besides the existence in the decade of two phenomena like the "Nouveau Roman" and "Mai 68". +
- +
-This work concludes by revealing relations between the sociological aspects treated and the literary fact of Femina Prizes. +
- +
-Finally, a group of eight indices compliment the previous information. ###+
  
 JOHNSON, Kathleen Ann, « From History to Painting in Contemporary Fiction : Temporal and Spatial Models in Novels of Butor, Simon and Semprún », thèse de doctorat, University of California (Irvine), 1984, 236 f. +++ Thèse de doctorat / mémoire de maîtrise JOHNSON, Kathleen Ann, « From History to Painting in Contemporary Fiction : Temporal and Spatial Models in Novels of Butor, Simon and Semprún », thèse de doctorat, University of California (Irvine), 1984, 236 f. +++ Thèse de doctorat / mémoire de maîtrise
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 This study proposes to open a needed critical perspective on both the terms and efficacity of these spatial models. Chapter One introduces the space/time problem through a reading of //L'Emploi du Temps//. The attempt and failure to reveal "lost" time through its spatialization leads to the need to complicate rather than simply apply spatial models. Simon's //La Route des Flandres// demonstrates that narrative is a formal, not an epistemological activity and is thus open to question and experimentation. Le palace searches for a narrative principle which would successfully mediate between the anarchy of experience and the architecture of form. Pictorial models are introduced as alternatives, but the text itself resists and exceeds the limits imposed by these models. This study proposes to open a needed critical perspective on both the terms and efficacity of these spatial models. Chapter One introduces the space/time problem through a reading of //L'Emploi du Temps//. The attempt and failure to reveal "lost" time through its spatialization leads to the need to complicate rather than simply apply spatial models. Simon's //La Route des Flandres// demonstrates that narrative is a formal, not an epistemological activity and is thus open to question and experimentation. Le palace searches for a narrative principle which would successfully mediate between the anarchy of experience and the architecture of form. Pictorial models are introduced as alternatives, but the text itself resists and exceeds the limits imposed by these models.
  
-Chapters Four and Five investigate the alternatives proposed by the Marxist Jorge Semprún for whom spatial models are a critique but an ineffective complication of linear narrative. In //Le grand voyage//, the attempt to narrate historical loss and negativity without suppression leads to the need to open temporal linearity from within by complicating space. //La deuxième mort de Ramon Mercader// explores this spatial complication by showing vision to be a complicated construct in which vision disrupts, complicates and is complicated by discourse.+Chapters Four and Five investigate the alternatives proposed by the Marxist Jorge Semprún for whom spatial models are a critique but an ineffective complication of linear narrative. In //Le grand voyage//, the attempt to narrate historical loss and negativity without suppression leads to the need to open temporal linearity from within by complicating space. //La deuxième mort de Ramón Mercader// explores this spatial complication by showing vision to be a complicated construct in which vision disrupts, complicates and is complicated by discourse.
  
 This dissertation recognizes the tension between spatial and temporal models to be both interesting and productive and argues for a critical perspective which resists resolution in terms of either space or time. ### This dissertation recognizes the tension between spatial and temporal models to be both interesting and productive and argues for a critical perspective which resists resolution in terms of either space or time. ###
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   * [[http://revistas.javeriana.edu.co/index.php/cualit/article/view/8595|Amar Sánchez, 2014, PDF]] ###   * [[http://revistas.javeriana.edu.co/index.php/cualit/article/view/8595|Amar Sánchez, 2014, PDF]] ###
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