| Les deux révisions précédentesRévision précédente | |
| oeuvres:le_livre_du_rire_et_de_l_oubli [2016/02/08 12:59] – Modified from the form at oeuvres:le_livre_du_rire_et_de_l_oubli Virginie Savard | oeuvres:le_livre_du_rire_et_de_l_oubli [2016/02/11 08:19] (Version actuelle) – Virginie Savard |
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| ###[[http://www.cairn.info/revue-d-histoire-litteraire-de-la-france-2014-4-page-911.htm|Vibert, 2014, HTML]] ### | ###[[http://www.cairn.info/revue-d-histoire-litteraire-de-la-france-2014-4-page-911.htm|Vibert, 2014, HTML]] ### |
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| PENALTA CATALÁN, Rocío, « Las ciudades checas desde el exilio: Milan Kundera », dans Eugenia POPEANGA CHELAR, Angel CLEMENTE ESCOBAR et Garrido Alarcón, Edmundo GARRIDO ALACÓN et Rocío PENALTA CATALÁN (dir.), //Escrituras del exilio//, Madrid, Universidad Complutense de Madrid, 2011, p. 339-352. +++ Article de revue | PENALTA CATALÁN, Rocío, « Las ciudades checas desde el exilio: Milan Kundera », dans Eugenia POPEANGA CHELAR, Angel CLEMENTE ESCOBAR et Edmundo GARRIDO ALARCÓN et Rocío PENALTA CATALÁN (dir.), //Escrituras del exilio//, Madrid, Universidad Complutense de Madrid, 2011, p. 339-352. +++ Article de revue |
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| ### Porte aussi sur //La plaisanterie//. ### | ### Porte aussi sur //La plaisanterie//. ### |
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| ### **Résumé**\\ | ### **Résumé**\\ |
| Cette étude est une lecture du Livre du rire et de l'oubli de Milan Kundera. Ce roman très original est compris comme une exploration de deux modalités antinomiques de la répétition: la répétition platonicienne, à travers laquelle la stabilité et l'identité se trouvent renforcées, et la répétition nietzschéenne, qui révèle l'instabilité de l'identité. L'opposition entre ces deux formes de répétition investit de sa dialectique aussi bien la structure formelle que le contenu thématique du roman. À travers la forme en variation, chaque situation du roman se trouve ainsi dans une confrontation complexe et contradictoire avec des situations plus ou moins identiques, leur interdisant de s'imposer comme des énoncés univoques. Cette forme, qui fait ressortir les rapports ironiques à l'intérieur du roman, épouse les interrogations existentielles de l'oeuvre. En effet celle-ci met en scène des personnages marqués par un aspiration profonde vers les deux pôles de la répétition: le désir d'idylle dans un monde débarrassé des contingences de l'histoire, et le désir de changement. Or les différents récits du livre montrent que les deux formes de la répétition menacent également l'être humain. Par des voies opposées, elles conduisent aux mêmes résultats, l'oubli (par accélération ou par stagnation) et le rire (par nihilisme ou par acceptation béate) et nous font inexorablement glisser de l'être vers le néant. | Cette étude est une lecture du //Livre du rire et de l'oubli// de Milan Kundera. Ce roman très original est compris comme une exploration de deux modalités antinomiques de la répétition: la répétition platonicienne, à travers laquelle la stabilité et l'identité se trouvent renforcées, et la répétition nietzschéenne, qui révèle l'instabilité de l'identité. L'opposition entre ces deux formes de répétition investit de sa dialectique aussi bien la structure formelle que le contenu thématique du roman. À travers la forme en variation, chaque situation du roman se trouve ainsi dans une confrontation complexe et contradictoire avec des situations plus ou moins identiques, leur interdisant de s'imposer comme des énoncés univoques. Cette forme, qui fait ressortir les rapports ironiques à l'intérieur du roman, épouse les interrogations existentielles de l'oeuvre. En effet celle-ci met en scène des personnages marqués par un aspiration profonde vers les deux pôles de la répétition: le désir d'idylle dans un monde débarrassé des contingences de l'histoire, et le désir de changement. Or les différents récits du livre montrent que les deux formes de la répétition menacent également l'être humain. Par des voies opposées, elles conduisent aux mêmes résultats, l'oubli (par accélération ou par stagnation) et le rire (par nihilisme ou par acceptation béate) et nous font inexorablement glisser de l'être vers le néant. |
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| [[http://onlinelibrary.wiley.com/doi/10.1034/j.1600-0730.2001.d01-42.x/abstract|Boisen, 2001, PDF]] ### | [[http://onlinelibrary.wiley.com/doi/10.1034/j.1600-0730.2001.d01-42.x/abstract|Boisen, 2001, PDF]] ### |
| The first chapter analyzes the basic features in Peirce's theory and integrates it into modern research in order to develop a framework for the analysis of spatial representation and its rhetoric uses. Representation, with emphasis on the notions of iconicity, indexicality and symbolicity, is examined in the second chapter. Peirce's theory is compared to and developed with insights from cognitive science and Maurice Merleau-Ponty's phenomenology. The reader's creative imaginative work and textual determination emerge as central aspects for spatial representation. | The first chapter analyzes the basic features in Peirce's theory and integrates it into modern research in order to develop a framework for the analysis of spatial representation and its rhetoric uses. Representation, with emphasis on the notions of iconicity, indexicality and symbolicity, is examined in the second chapter. Peirce's theory is compared to and developed with insights from cognitive science and Maurice Merleau-Ponty's phenomenology. The reader's creative imaginative work and textual determination emerge as central aspects for spatial representation. |
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| Peirce's views on rhetoric together with traditional and modern views on the art of speech are analyzed in the beginning of the third chapter. The interplay and interdependence of ambiguity and determinacy are foregrounded as essential. Specific issues of spatial rhetoric are then analyzed. The notion of locus is focused on in Milan Kundera's //The Book of Laughter and Forgetting//, metaphor in John Ashbery's "Self-Portrait in a Convex Mirror", topographical description in Julien Gracq's La Forme d'une ville , focalization in Joseph Brodsky's "The Hawk's Cry in Autumn" and micronarrative in Yves Bonnefoy's L'Arrière-pays . The readings point to the creative and undetermined aspects in rhetoric and the critical value they have. | Peirce's views on rhetoric together with traditional and modern views on the art of speech are analyzed in the beginning of the third chapter. The interplay and interdependence of ambiguity and determinacy are foregrounded as essential. Specific issues of spatial rhetoric are then analyzed. The notion of locus is focused on in Milan Kundera's //The Book of Laughter and Forgetting//, metaphor in John Ashbery's "Self-Portrait in a Convex Mirror", topographical description in Julien Gracq's //La Forme d'une ville//, focalization in Joseph Brodsky's "The Hawk's Cry in Autumn" and micronarrative in Yves Bonnefoy's //L'Arrière-pays//. The readings point to the creative and undetermined aspects in rhetoric and the critical value they have. |
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| The concluding chapter proposes an overview on the results and arguments on the place and function the semiotic approach to literature may have in research. ### | The concluding chapter proposes an overview on the results and arguments on the place and function the semiotic approach to literature may have in research. ### |
| Theorists of postmodern fantastic literature include under the rubric of the "fantastic" what they see as postmodernism's tendency to eschew the category of "reality" itself. This tendency, which has been labeled a "generalized fantastic," coincides with the way postmodernism and poststructuralism have been conflated. The project illustrates the difference between the "generalized fantastic" and an historically engaged use of fantastic devices by contrasting Vladimir Nabokov's //Pale Fire// with Kundera's //The Book of Laughter and Forgetting//. Since //Pale Fire// enacts poststructural concepts such as the deferral of meaning, Nabokov ultimately stresses textuality over "reality." In contrast, Kundera uses fantastic devices to assert the primacy of social actuality. | Theorists of postmodern fantastic literature include under the rubric of the "fantastic" what they see as postmodernism's tendency to eschew the category of "reality" itself. This tendency, which has been labeled a "generalized fantastic," coincides with the way postmodernism and poststructuralism have been conflated. The project illustrates the difference between the "generalized fantastic" and an historically engaged use of fantastic devices by contrasting Vladimir Nabokov's //Pale Fire// with Kundera's //The Book of Laughter and Forgetting//. Since //Pale Fire// enacts poststructural concepts such as the deferral of meaning, Nabokov ultimately stresses textuality over "reality." In contrast, Kundera uses fantastic devices to assert the primacy of social actuality. |
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| The subsequent chapters examine how other postmodern novelists likewise use the fantastic to question a world-view which imposes closed narratives in a variety of cultural contexts. A discussion of Iris Murdoch's The Sea, The Sea focuses on the link between traditional narrative forms and patriarchal domination. The treatment of D. M. Thomas's The White Hotel extends this inquiry by exploring how Thomas's fictionalized Freud, like Murdoch's narrator, constructs a female character's subjectivity through an interpretive narrative. Finally, the last chapter focuses on Toni Morrison's Beloved and explores the postmodern treatment of history in an African-American context, arguing that multicultural authors whose background includes an oral tradition use self-conscious narrative strategies to preserve marginalized cultural traditions and restore devalued historical knowledge. Like the other authors, Morrison's use of the fantastic undermines reductive narrative forms at the same time that it re-establishes postmodernism's relation to social history. | The subsequent chapters examine how other postmodern novelists likewise use the fantastic to question a world-view which imposes closed narratives in a variety of cultural contexts. A discussion of Iris Murdoch's The Sea, The Sea focuses on the link between traditional narrative forms and patriarchal domination. The treatment of D. M. Thomas's //The White Hotel// extends this inquiry by exploring how Thomas's fictionalized Freud, like Murdoch's narrator, constructs a female character's subjectivity through an interpretive narrative. Finally, the last chapter focuses on Toni Morrison's //Beloved// and explores the postmodern treatment of history in an African-American context, arguing that multicultural authors whose background includes an oral tradition use self-conscious narrative strategies to preserve marginalized cultural traditions and restore devalued historical knowledge. Like the other authors, Morrison's use of the fantastic undermines reductive narrative forms at the same time that it re-establishes postmodernism's relation to social history. |
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| //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de [[http://www.proquest.com|UMI - Proquest]]// ### | //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de [[http://www.proquest.com|UMI - Proquest]]// ### |