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oeuvres:les_boulevards_de_ceinture [2015/08/31 10:56] Audrey Thériaultoeuvres:les_boulevards_de_ceinture [2015/09/08 13:25] (Version actuelle) Audrey Thériault
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 {{ oeuvres:les_boulevards_de_ceinture.jpg?100|}} {{ oeuvres:les_boulevards_de_ceinture.jpg?100|}}
  
-« Le narrateur part à la recherche de son père. Le voici dans un village, en bordure de la forêt de Fontainebleau, du temps de l'occupation, au milieu d'individus troubles. Qui est ce père ? Trafiquant ? Juif traqué ? Pourquoi se trouve-t-il parmi ces gens ? Jusqu'au bout le narrateur poursuivra ce père fantomatique. Avec tendresse. » (quatrième de couverture)+« Le narrateur part à la recherche de son père. Le voici dans un village, en bordure de la forêt de Fontainebleau, du temps de l'occupation, au milieu d'individus troubles. Qui est ce père ? Trafiquant ? Juif traqué ? Pourquoi se trouve-t-il parmi ces gens ? Jusqu'au bout le narrateur poursuivra ce père fantomatique. Avec tendresse. » (Quatrième de couverture)
  
 ===== 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, Anne-Marie, « Une certaine presse de “plumitifs” : celle des //Boulevards de ceinture// », dans John E. FLOWER (dir.), //Patrick Modiano//, Amsterdam, Rodopi (Faux Titre), 2007, p. 49-73. +++ Chapitre de collectif OBAJTEK-KIRKWOOD, Anne-Marie, « Une certaine presse de “plumitifs” : celle des //Boulevards de ceinture// », dans John E. FLOWER (dir.), //Patrick Modiano//, Amsterdam, Rodopi (Faux Titre), 2007, p. 49-73. +++ Chapitre de collectif
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- 
  
 THIEL-JAŃCZUK, Katarzyna, « La quête du père et l'érosion du récit chez Patrick Modiano et Paul Auster (//Les boulevards de ceinture// et //L'Invention de la solitude//) », dans //Roman 20-50//, vol. 36 (décembre 2003), p. 149-158. +++ Article de revue THIEL-JAŃCZUK, Katarzyna, « La quête du père et l'érosion du récit chez Patrick Modiano et Paul Auster (//Les boulevards de ceinture// et //L'Invention de la solitude//) », dans //Roman 20-50//, vol. 36 (décembre 2003), p. 149-158. +++ Article de revue
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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, chapter one examines the perception and characteristics of collaboration, providing a broad analysis of collaboration and collaborators which 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, which openly describe armed and violent collaboration, challenging and contrasting with the Gaullist representation of mass resistance supported by the civil population. Finally, familial memories are used to revaluate the //mode rétro// in light of earlier chapters. Although this phenomenon found innovative ways to view the war, it did not represent a wholly new, or more open, account, and was subject to its own repressions and distortions. » (résumé joint à la thèse)
-Gaullist political accounts described in Henry Rousso’s //Le Syndrome de Vichy//. +
-Following the introduction, chapter one examines the perception and characteristics of +
-collaboration, providing a broad analysis of collaboration and collaborators which +
-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, which openly describe armed and violent collaboration, challenging and contrasting with the Gaullist representation of mass resistance supported by the civil population. Finally, familial memories are used to revaluate the //mode rétro// in light of earlier chapters. Although this phenomenon found innovative ways to view the war, it did not represent a wholly new, or more open, account, and was subject to its own repressions and distortions. » (résumé joint à la thèse)+
  
 La thèse traite aussi de //La ronde de nuit//. La thèse traite aussi de //La ronde de nuit//.

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