Discours critique sur les œuvres de littérature contemporaine
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- | « Le narrateur part à la recherche de son père. Le voici dans un village, en bordure de la forêt de Fontainebleau, | + | « Le narrateur part à la recherche de son père. Le voici dans un village, en bordure de la forêt de Fontainebleau, |
===== Documentation critique ===== | ===== Documentation critique ===== | ||
MORRIS, Alan, « And the “Bande” played on : An intertext for Patrick Modiano : //Les Boulevards de ceinture// », dans John E. FLOWER (dir.), //Patrick Modiano//, Amsterdam, Rodopi (Faux Titre), 2007, p. 33-48. +++ Chapitre de collectif | MORRIS, Alan, « And the “Bande” played on : An intertext for Patrick Modiano : //Les Boulevards de ceinture// », dans John E. FLOWER (dir.), //Patrick Modiano//, Amsterdam, Rodopi (Faux Titre), 2007, p. 33-48. +++ Chapitre de collectif | ||
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OBAJTEK-KIRKWOOD, | OBAJTEK-KIRKWOOD, | ||
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THIEL-JAŃCZUK, | THIEL-JAŃCZUK, | ||
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LAWRIE, Richard, « Narratives of Collaboration in Post-War France, 1944-1974 », thèse de doctorat, Faculty of Arts and Humanities, University of Durham, 2013, 317 f. +++ Thèse de doctorat / mémoire de maîtrise | LAWRIE, Richard, « Narratives of Collaboration in Post-War France, 1944-1974 », thèse de doctorat, Faculty of Arts and Humanities, University of Durham, 2013, 317 f. +++ Thèse de doctorat / mémoire de maîtrise | ||
- | ### « Arguing that literary narratives (whether fictional or autobiographical) can provide an important way in which the past is accessed and understood, this thesis uses such | + | ### « Arguing that literary narratives (whether fictional or autobiographical) can provide an important way in which the past is accessed and understood, this thesis uses such narratives to compare and contrast cultural representations of collaboration with the Gaullist political accounts described in Henry Rousso’s //Le Syndrome de Vichy//. |
- | narratives to compare and contrast cultural representations of collaboration with the | + | Following the introduction, |
- | Gaullist political accounts described in Henry Rousso’s //Le Syndrome de Vichy//. | + | |
- | Following the introduction, | + | |
- | collaboration, | + | |
- | frames later chapters. There follows a discussion of the generic boundaries between | + | |
- | history, autobiography and fiction, showing that novels can contain many of the | + | |
- | attributes conventionally ascribed to historical texts, as well as having a freedom of | + | |
- | form which allows them to examine and relate subjects not allowed to historical | + | |
- | accounts. Next, selected novels (by Marcel Aymé, Jean-Louis Bory, Marie Chaix, | + | |
- | Céline, Jean-Louis Curtis, Jean Dutourd, Pascal Jardin, Patrick Modiano, Saint-Loup, | + | |
- | and Michel Tournier) are analysed at length to examine how specific forms of | + | |
- | collaboration have been understood, and how they subvert Rousso’s schema of | + | |
- | repression or marginalisation of the phenomenon. Novels written in the immediate | + | |
- | aftermath of the war actually gave a convincing representation of collaboration and | + | |
- | the everyday wartime experience, contrasting with the ‘official’ story which sought to | + | |
- | forget collaboration. Representations of intellectual and cultural collaboration show | + | |
- | that, contrary to de Gaulle’s attempts to portray France as a nation of resisters, high profile figures from these circles offered a more persuasive alternative to this view. | + | |
- | This is also shown to be the case for depictions of military and paramilitary collaboration, | + | |
La thèse traite aussi de //La ronde de nuit//. | La thèse traite aussi de //La ronde de nuit//. |