Différences
Ci-dessous, les différences entre deux révisions de la page.
| Les deux révisions précédentesRévision précédente | |
| oeuvres:la_pleurante_des_rues_de_prague [2016/07/13 11:16] – Virginie Savard | oeuvres:la_pleurante_des_rues_de_prague [2016/07/21 12:42] (Version actuelle) – Virginie Savard |
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| **Abstract**\\ | **Abstract**\\ |
| This article focuses on the city in biography in light of three biographical works dealing with writers. In the first example, an analysis of Christophe Fourvel’s Henri Calet, //Montevideo et moi// (2006) considers the biographers pilgrimages to places frequented by the subject of his biography. The second example is Frédéric Pajak’s //L’immense solitude// (1999), in which places are analyzed as stages upon which writers made to play a part, therefore overdetermining their existence. The final example, which comes the closest to being a biography of a city, is Sylvie Germain’s //La Pleurante des rues de Prague// (1992), where the inner city seems to exude a certain type of story, to emanate a certain memory that cannot, however, be reduced to it. | This article focuses on the city in biography in light of three biographical works dealing with writers. In the first example, an analysis of Christophe Fourvel’s Henri Calet, //Montevideo et moi// (2006) considers the biographers pilgrimages to places frequented by the subject of his biography. The second example is Frédéric Pajak’s //L’immense solitude// (1999), in which places are analyzed as stages upon which writers made to play a part, therefore overdetermining their existence. The final example, which comes the closest to being a biography of a city, is Sylvie Germain’s //La Pleurante des rues de Prague// (1992), where the inner city seems to exude a certain type of story, to emanate a certain memory that cannot, however, be reduced to it. |
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| [[http://tempszero.contemporain.info/document929|Dion, 2013, HTML]] ### | [[http://tempszero.contemporain.info/document929|Dion, 2013, HTML]] ### |
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