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Si le sujet revient souvent, c’est d’abord sans doute parce que cette dénomination qui figure sur la couverture de ses ouvrages fait question, mais aussi parce que... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8944155" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Éric Chevillard livre volontiers ses réflexions d’écrivain sur le roman. Si le sujet revient souvent, c’est d’abord sans doute parce que cette dénomination qui figure sur la couverture de ses ouvrages fait question, mais aussi parce que l’auteur prend manifestement plaisir à tailler en pièces l’image de ce qu’il appelle le « bon vieux roman ». Sa récente contribution au récit des aventures de la marquise valéryenne laisse néanmoins transparaître une certaine tendresse à l’égard du genre. Emboîtant le pas à cette infatigable héroïne, on se propose de montrer que la fictionnalisation du commentaire dont elle est le support constitue paradoxalement le vecteur d’une régénération du roman.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8944155" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4ddffe4a37193111b15313421e9652e3" rel="nofollow" data-download="{"attachment_id":35264755,"asset_id":8944155,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35264755/download_file?st=MTc0MDU3OTUxNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19822807" href="https://independentscholar.academia.edu/AudreyCamus">Audrey Camus</a><script data-card-contents-for-user="19822807" type="text/json">{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_8944155 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8944155"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8944155, container: ".js-paper-rank-work_8944155", }); 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En analysant le dialogue que le texte entretient avec L’Anatomie de la... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8944158" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Sous prétexte d’orchestrer la disparition de son protagoniste mélancolique sous le scalpel, le premier roman de Pierre Senges se tisse d’histoires fabuleuses. En analysant le dialogue que le texte entretient avec L’Anatomie de la mélancolie de Robert Burton, l’article se propose de montrer comment cette mise en scène du sacrifice de la dépouille de l’auteur exploite le jeu des correspondances entre corps, texte et monde qu’elle emprunte à son modèle tacite pour mettre en œuvre une anatomie de la fiction. Si, au seuil de son œuvre, l’écrivain trouve dans cette écriture du commentaire le moyen d’affirmer sa conception de la représentation comme de la forme romanesque, la filiation ménippéenne dans laquelle il s’inscrit constitue d’abord une réponse éthique à la question « Comment écrire aujourd’hui ? ».</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8944158" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9fe6f0e07976a466eaa32b7695e67403" rel="nofollow" data-download="{"attachment_id":35427219,"asset_id":8944158,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35427219/download_file?st=MTc0MDU3OTUxNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19822807" href="https://independentscholar.academia.edu/AudreyCamus">Audrey Camus</a><script data-card-contents-for-user="19822807" type="text/json">{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_8944158 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8944158"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8944158, container: ".js-paper-rank-work_8944158", }); 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En analysant le dialogue que le texte entretient avec L’Anatomie de la mélancolie de Robert Burton, l’article se propose de montrer comment cette mise en scène du sacrifice de la dépouille de l’auteur exploite le jeu des correspondances entre corps, texte et monde qu’elle emprunte à son modèle tacite pour mettre en œuvre une anatomie de la fiction. Si, au seuil de son œuvre, l’écrivain trouve dans cette écriture du commentaire le moyen d’affirmer sa conception de la représentation comme de la forme romanesque, la filiation ménippéenne dans laquelle il s’inscrit constitue d’abord une réponse éthique à la question « Comment écrire aujourd’hui ? ».","publication":"Littérature no 151 (Th. Samoyault ed)","publication_with_fallback":"Littérature no 151 (Th. 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Foncièrement réaliste en ce sens, l’œuvre d’André Dhôtel participe en même temps d’une géographie fabuleuse qui lui valut de bonne heure le baptême d’un toponyme aux résonances carolliennes. Le Dhôtelland, qui confond littérature et géographie comme il trouble les cartes, établit ainsi son existence problématique à la lisière du quotidien et de la merveille, pour tracer les contours invisibles d’une réalité mystérieuse et inconnue, qui toujours échappe. À partir de la lecture du Mont Damion et de La Tribu Bécaille, reprenant à son compte l’intuition de Maurice Nadeau selon laquelle « le roman tel que le conçoit Dhôtel est une histoire racontée par un enfant qui se prendrait à ses imaginations », la présente proposition fait l’hypothèse que ce pays mystérieux est celui de l’enfance, d’une enfance qui ne fait pas seulement l’objet d’une quête nostalgique mais, insufflant la vie aux personnages et donnant forme à la fiction, constitue la source même de l’écriture.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8944613" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d709a39c9d004dab99bc3b2d93f5cec7" rel="nofollow" data-download="{"attachment_id":35265084,"asset_id":8944613,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35265084/download_file?st=MTc0MDU3OTUxNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19822807" href="https://independentscholar.academia.edu/AudreyCamus">Audrey Camus</a><script data-card-contents-for-user="19822807" type="text/json">{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_8944613 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8944613"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8944613, container: ".js-paper-rank-work_8944613", }); 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$(".js-view-count[data-work-id=8944613]").text(description); $(".js-view-count-work_8944613").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_8944613").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="8944613"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="248659" rel="nofollow" href="https://www.academia.edu/Documents/in/Litt%C3%A9rature_et_espaces">Littérature et espaces</a><script data-card-contents-for-ri="248659" type="text/json">{"id":248659,"name":"Littérature et espaces","url":"https://www.academia.edu/Documents/in/Litt%C3%A9rature_et_espaces","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=8944613]'), work: {"id":8944613,"title":"Haute-Enfance : le pays fabuleux d’André Dhôtel","created_at":"2014-10-24T08:33:02.577-07:00","owner_id":19822807,"url":"https://www.academia.edu/8944613/Haute_Enfance_le_pays_fabuleux_d_Andre_Dho_tel","slug":"Haute_Enfance_le_pays_fabuleux_d_Andre_Dho_tel","dom_id":"work_8944613","summary":"L’art de celui qu’on a pu qualifier de « romancier candide » est un art du peu qui, dans une langue dépouillée, fait la part belle au banal et au quotidien, mettant le plus souvent en scène des personnages médiocres dans une quelconque réalité provinciale. Foncièrement réaliste en ce sens, l’œuvre d’André Dhôtel participe en même temps d’une géographie fabuleuse qui lui valut de bonne heure le baptême d’un toponyme aux résonances carolliennes. Le Dhôtelland, qui confond littérature et géographie comme il trouble les cartes, établit ainsi son existence problématique à la lisière du quotidien et de la merveille, pour tracer les contours invisibles d’une réalité mystérieuse et inconnue, qui toujours échappe. À partir de la lecture du Mont Damion et de La Tribu Bécaille, reprenant à son compte l’intuition de Maurice Nadeau selon laquelle « le roman tel que le conçoit Dhôtel est une histoire racontée par un enfant qui se prendrait à ses imaginations », la présente proposition fait l’hypothèse que ce pays mystérieux est celui de l’enfance, d’une enfance qui ne fait pas seulement l’objet d’une quête nostalgique mais, insufflant la vie aux personnages et donnant forme à la fiction, constitue la source même de l’écriture.","publication":"Roman 20-50, no 52 (Ph. Blondeau \u0026 M.H. Boblet ed.)","publication_with_fallback":"Roman 20-50, no 52 (Ph. Blondeau \u0026 M.H. Boblet ed.)","downloadable_attachments":[{"id":35265084,"asset_id":8944613,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/35265084/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/35265084/HauteEnfanceDhotel_ACamus-libre.pdf?1414167316=\u0026response-content-disposition=attachment%3B+filename%3DHaute_Enfance_le_pays_fabuleux_d_Andre_D.pdf\u0026Expires=1740583115\u0026Signature=blaYkyX4BnTFBXhqyH~dkcYy8I5XG6lKvj41bLVRFqXX476~WKSZkHrNjAaVy29sE8jDTRXmFw4Jni4lnMN0ESWZSZxRicDH679o0AlkoU~CIYHEHAT86yNDPaz6cdBsS3JqFSd~1VaDcJl-Sp~YGDfJ6dS5MdK5fGXU4zr8Vhww7bP7b1Nr420XUrvlEuYqploI2~PfW3BnPVTZqXoDTZTEbvPcmmnbyx-Dpi5sXe0vRlUCXvIh-JNAcyXPm-95F45gNJiFYgi2AYrYAidmzusKOK~ZHPaYhFngCCeLjHc2iDVubK3ok3sKZTDiy1d~Mxz~e5XZ~D81m1oPmvectA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/35265084/download_file?st=MTc0MDU3OTUxNSw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/35265084/mini_magick20190316-22516-uouoyv.png?1552756025"}],"downloadable_attachments_with_full_thumbnails":[{"id":35265084,"asset_id":8944613,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/35265084/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/35265084/HauteEnfanceDhotel_ACamus-libre.pdf?1414167316=\u0026response-content-disposition=attachment%3B+filename%3DHaute_Enfance_le_pays_fabuleux_d_Andre_D.pdf\u0026Expires=1740583115\u0026Signature=blaYkyX4BnTFBXhqyH~dkcYy8I5XG6lKvj41bLVRFqXX476~WKSZkHrNjAaVy29sE8jDTRXmFw4Jni4lnMN0ESWZSZxRicDH679o0AlkoU~CIYHEHAT86yNDPaz6cdBsS3JqFSd~1VaDcJl-Sp~YGDfJ6dS5MdK5fGXU4zr8Vhww7bP7b1Nr420XUrvlEuYqploI2~PfW3BnPVTZqXoDTZTEbvPcmmnbyx-Dpi5sXe0vRlUCXvIh-JNAcyXPm-95F45gNJiFYgi2AYrYAidmzusKOK~ZHPaYhFngCCeLjHc2iDVubK3ok3sKZTDiy1d~Mxz~e5XZ~D81m1oPmvectA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/35265084/download_file?st=MTc0MDU3OTUxNSw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/35265084/mini_magick20190316-22516-uouoyv.png?1552756025"}],"has_pdf":true,"has_fulltext":true,"page_count":11,"ordered_authors":[{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":248659,"name":"Littérature et espaces","url":"https://www.academia.edu/Documents/in/Litt%C3%A9rature_et_espaces","nofollow":true}],"publication_year":2011,"publication_year_with_fallback":2011,"paper_rank":null,"all_time_views":162,"active_discussion":{}}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8944731" data-work_id="8944731" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8944731/Esp%C3%A8ces_d_espaces_vers_une_typologie_des_espaces_fictionnels">Espèces d’espaces : vers une typologie des espaces fictionnels</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">L'univers romanesque s’ancre dans un espace qui, loin de constituer le seul décor de la diégèse, la fonde tout entière. Comme l’affirmait Charles Grivel à propos du roman réaliste, « la localisation procure (conjointement) la... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8944731" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">L'univers romanesque s’ancre dans un espace qui, loin de constituer le seul décor de la diégèse, la fonde tout entière. Comme l’affirmait Charles Grivel à propos du roman réaliste, « la localisation procure (conjointement) la vraisemblance du texte », et « l’institue (conjointement) ‹ réalité  ». Si l’on est porté à l’oublier, c’est précisément parce que cet espace est fondamental, et parce que dans la plupart des cas, il cherche à coïncider avec le nôtre. L’absence de localisation ou une localisation problématique nous le rappellent en ce qu’elles tendent à mettre en cause l’existence du monde représenté. En raison des processus d’inférence qui président à la lecture, une chambre ou un chemin fonctionnent en effet comme représentants de la totalité géographique du livre, qu’ils résument par synecdoque, comme ils résument les lois naturelles et physiques dont ils sont le signe – fournissant ainsi des indications d’ordre générique. C’est cette relation que l’on se propose d’étudier, les diverses modalités dont elle procède et les variations dont elle fait l’objet, pour tâcher d’élaborer une typologie des espaces fictionnels.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8944731" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3f7b05e1ef31ef0473dded32179d05eb" rel="nofollow" data-download="{"attachment_id":35265163,"asset_id":8944731,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35265163/download_file?st=MTc0MDU3OTUxNSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19822807" href="https://independentscholar.academia.edu/AudreyCamus">Audrey Camus</a><script data-card-contents-for-user="19822807" type="text/json">{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_8944731 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8944731"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8944731, container: ".js-paper-rank-work_8944731", }); 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Comme l’affirmait Charles Grivel à propos du roman réaliste, « la localisation procure (conjointement) la vraisemblance du texte », et « l’institue (conjointement) ‹ réalité ». Si l’on est porté à l’oublier, c’est précisément parce que cet espace est fondamental, et parce que dans la plupart des cas, il cherche à coïncider avec le nôtre. L’absence de localisation ou une localisation problématique nous le rappellent en ce qu’elles tendent à mettre en cause l’existence du monde représenté. En raison des processus d’inférence qui président à la lecture, une chambre ou un chemin fonctionnent en effet comme représentants de la totalité géographique du livre, qu’ils résument par synecdoque, comme ils résument les lois naturelles et physiques dont ils sont le signe – fournissant ainsi des indications d’ordre générique. 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Introducteur du jazz et de la science-fiction en France, Vian, qui côtoya Miles Davis, Jean-Paul Sartre et Juliette Gréco et prêta quelquefois sa silhouette au cinématographe, écrivit aussi de nombreux scénarios et «petits spectacles», des arguments de ballets pour Roland Petit, ou encore un opéra pour Darius Milhaud. <br />Quoique auteur prolifique, il fut de son vivant connu davantage pour son personnage et ses provocations que pour ses écrits. Poésie, romans, nouvelles, théâtre, l’œuvre disparaissait derrière les scandales, celui de la chanson du Déserteur, interdite d’antenne, celui surtout de J’irai cracher sur vos tombes. Aujourd’hui encore, le plus souvent, l’attrait exercé par la personnalité de Boris Vian et la curiosité pour son singulier parcours tendent à prendre le pas sur l’attention portée à son œuvre littéraire. Or cette œuvre mérite que l’on s’y intéresse de près… <br />ÉTUDES ET TEXTES DE <br />Audrey Camus, Marie Redonnet, Patrick Vian, Jean Pastureau, Christelle Gonzalo, Marc Lapprand, Alistair Rolls, Ralph Schoolcraft, Jacques Poirier, Claude Ernoult, Jean-Pierre Vidal, Adela Cortijo Talavera, Benoît Barut, Jeanyves Guérin, Corinne Noirot-Maguire, Chloé Delaume.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8944747" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6b9d1415defb52226e3a7cd8c6cbc314" rel="nofollow" data-download="{"attachment_id":35297768,"asset_id":8944747,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35297768/download_file?st=MTc0MDU3OTUxNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19822807" href="https://independentscholar.academia.edu/AudreyCamus">Audrey Camus</a><script data-card-contents-for-user="19822807" type="text/json">{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_8944747 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8944747"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8944747, container: ".js-paper-rank-work_8944747", }); 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$(".js-view-count[data-work-id=8944747]").text(description); $(".js-view-count-work_8944747").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_8944747").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="8944747"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i></div><span class="InlineList-item-text u-textTruncate u-pl6x"><a class="InlineList-item-text" data-has-card-for-ri="125004" rel="nofollow" href="https://www.academia.edu/Documents/in/Boris_Vian">Boris Vian</a><script data-card-contents-for-ri="125004" type="text/json">{"id":125004,"name":"Boris Vian","url":"https://www.academia.edu/Documents/in/Boris_Vian","nofollow":true}</script></span></li><script>(function(){ if (false) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=8944747]'), work: {"id":8944747,"title":"Boris Vian, Europe (ed.)","created_at":"2014-10-24T08:47:20.005-07:00","owner_id":19822807,"url":"https://www.academia.edu/8944747/Boris_Vian_Europe_ed_","slug":"Boris_Vian_Europe_ed_","dom_id":"work_8944747","summary":"Il y a cinquante ans disparaissait Boris Vian, d’une mort prématurée qui devait contribuer à en faire une figure mythique. «Touche-à-tout de génie», «prince de Saint-Germain-des-Prés», «enfant terrible des lettres françaises», les épithètes quasi homériques ne manquent pas pour désigner celui qui fut tout à la fois ou tour à tour ingénieur, trompettiste, chansonnier, pataphysicien, directeur artistique chez Philips, traducteur de Chandler et de Strindberg, chroniqueur pour Jazz-Hot ou Les Temps Modernes, amateur de belles voitures et inventeur de la roue élastique. Introducteur du jazz et de la science-fiction en France, Vian, qui côtoya Miles Davis, Jean-Paul Sartre et Juliette Gréco et prêta quelquefois sa silhouette au cinématographe, écrivit aussi de nombreux scénarios et «petits spectacles», des arguments de ballets pour Roland Petit, ou encore un opéra pour Darius Milhaud.\r\nQuoique auteur prolifique, il fut de son vivant connu davantage pour son personnage et ses provocations que pour ses écrits. Poésie, romans, nouvelles, théâtre, l’œuvre disparaissait derrière les scandales, celui de la chanson du Déserteur, interdite d’antenne, celui surtout de J’irai cracher sur vos tombes. Aujourd’hui encore, le plus souvent, l’attrait exercé par la personnalité de Boris Vian et la curiosité pour son singulier parcours tendent à prendre le pas sur l’attention portée à son œuvre littéraire. Or cette œuvre mérite que l’on s’y intéresse de près…\r\nÉTUDES ET TEXTES DE \r\nAudrey Camus, Marie Redonnet, Patrick Vian, Jean Pastureau, Christelle Gonzalo, Marc Lapprand, Alistair Rolls, Ralph Schoolcraft, Jacques Poirier, Claude Ernoult, Jean-Pierre Vidal, Adela Cortijo Talavera, Benoît Barut, Jeanyves Guérin, Corinne Noirot-Maguire, Chloé Delaume.","publication":null,"publication_with_fallback":null,"downloadable_attachments":[{"id":35297768,"asset_id":8944747,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/35297768/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/35297768/PfaceSommaire_Vian-libre.pdf?1414415685=\u0026response-content-disposition=attachment%3B+filename%3DBoris_Vian_Europe_ed.pdf\u0026Expires=1740583115\u0026Signature=doPI8iY0a0qfJOrY-H8yHF0xFoU4oiN9lJ4Evn0vgbUauqvzZNvYFkc5fRQ5ESPcxYAULewafwVF4n2P~ZzWlxSUOn8LfFdGXivxkG69XT5B2Mu2uTXMQ6LyygtLTAWsY-lOh3FryAd5BNvPrx~3x3XzeSbV~1VES9yNkMyoG~XJt~xqP9pKQRgdH3YbHA32pgfryRGTwFfoudMZkdAt1ZbQ6aGFVQCOboShzm69Vmv4~B~ZHZjuJNMUEaIsjLiEohLu3dVV4oJIOHWTTXgohH5OZxXSgL~6zF4Iv5t4fO0o2xE8xdTg852HysebIytaWZ3BfkjS6wDOhpAgrCqPVQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/35297768/download_file?st=MTc0MDU3OTUxNiw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/35297768/mini_magick20190316-23782-1fyekbg.png?1552727718"}],"downloadable_attachments_with_full_thumbnails":[{"id":35297768,"asset_id":8944747,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/35297768/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/35297768/PfaceSommaire_Vian-libre.pdf?1414415685=\u0026response-content-disposition=attachment%3B+filename%3DBoris_Vian_Europe_ed.pdf\u0026Expires=1740583116\u0026Signature=TsxHWnb777HX4zQ3q~QSn2Tbu-z3gGHQTJLJ21GN-OQwKLDrlG9R6Ba4iSTCF8MAalafWXuZ72cfN9xB5QbhGYX4OtKH3D7jVe7n5P54FyL03KPDSvVFP3yusAZ5JCj2hzMqjozfVfIrt4SjckQk2HoiPsvD1b8PxL8uDlmjzNyWHgGeurym34sS6JKqSx31cCemh8QpYT239J3RWL-XgJuOhuIaDa2na-93AwgEJTHz-ptGsMrRCtPkOzFAIj5pZ3l7fq6SokQa7-rMys2A6dZw-vq8qSkimaUvMUU8q28gmehxxr25TDRiXmmKsH7VvxNW25TlwCICyEmJH~W1mA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/35297768/download_file?st=MTc0MDU3OTUxNiw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/35297768/mini_magick20190316-23782-1fyekbg.png?1552727718"}],"has_pdf":true,"has_fulltext":true,"page_count":8,"ordered_authors":[{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":125004,"name":"Boris Vian","url":"https://www.academia.edu/Documents/in/Boris_Vian","nofollow":true}],"publication_year":2009,"publication_year_with_fallback":2009,"paper_rank":null,"all_time_views":262,"active_discussion":{}}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8944796" data-work_id="8944796" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8944796/%C3%89critures_de_linsignifiant_%C3%89tudes_fran%C3%A7aises_ed_">Écritures de l'insignifiant, Études françaises (ed.)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">C’est en lui accordant le crédit d’une signification jusqu’alors déniée que le roman moderne a pu faire du quelconque son objet. Ainsi l’insignifiant s’est-il vu accorder importance, à la faveur d’une mise en récit dans laquelle il a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8944796" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">C’est en lui accordant le crédit d’une signification jusqu’alors déniée que le roman moderne a pu faire du quelconque son objet. Ainsi l’insignifiant s’est-il vu accorder importance, à la faveur d’une mise en récit dans laquelle il a trouvé une direction, et un sens. Cette contradiction fondamentale d’une littérature qui cherche à dire le monde dans son foisonnement et ce faisant le met en ordre traverse tout le XXe siècle, sous diverses formes, et se manifeste avec une singulière acuité dans les écritures contemporaines. En se donnant pour tâche d’étudier ces manifestations à travers la polysémie de l’insignifiant, qui en fait surgir toute la complexité, ce numéro d’Études françaises entend non seulement explorer chacun des aspects essentiels du questionnement pour lui-même – dans ses dimensions thématique, narrative et herméneutique – mais espère encore les éclairer par ce rapprochement. <br /> <br />Sommaire <br />Audrey Camus – Présentation : d’une insignifiance l’autre, pp. 5-12 <br />Stéphane Chaudier – L’insignifiant : de Barthes à Proust, pp. 13-31 <br />Marie-Pascale Huglo – Chronique d’une vie ordinaire : poétique de la conversation dans Adieu, de Danielle Sallenave, pp. 33-49 <br />Sandrina Joseph – L’impardonnable simplicité des outils d’écriture : Graveurs d’enfance de Régine Detambel, pp. 51-65 <br />Nicolas Xanthos – Le souci de l’effacement : insignifiance et poétique narrative chez Jean-Philippe Toussaint, pp. 67-87 <br />Audrey Camus – Les contrées étranges de l’insignifiant. Retour sur la notion de fantastique moderne, pp. 89-107 <br />Jacques Poirier – Malaise dans la signification, pp. 109-124 <br />Exercices de lecture <br />Denis Saint-Amand – Rimbaud assassin ? Petite sociocritique de Matinée d’ivresse, pp. 127-138 <br />Stéphane Girard – Éléments d’énonciation hétérotopique postmoderne dans 6 810 000 litres d’eau par seconde. Étude stéréophonique (Niagara) de Michel Butor, pp. 139-159</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8944796" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8ceafa3e5616644f8d2f53f21d52b75b" rel="nofollow" data-download="{"attachment_id":35427150,"asset_id":8944796,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35427150/download_file?st=MTc0MDU3OTUxNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19822807" href="https://independentscholar.academia.edu/AudreyCamus">Audrey Camus</a><script data-card-contents-for-user="19822807" type="text/json">{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_8944796 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8944796"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8944796, container: ".js-paper-rank-work_8944796", }); 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$(".js-view-count[data-work-id=8944796]").text(description); $(".js-view-count-work_8944796").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_8944796").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="8944796"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="15714" rel="nofollow" href="https://www.academia.edu/Documents/in/20th_Century_French_Literature">20th Century French Literature</a>, <script data-card-contents-for-ri="15714" type="text/json">{"id":15714,"name":"20th Century French Literature","url":"https://www.academia.edu/Documents/in/20th_Century_French_Literature","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="20873" rel="nofollow" href="https://www.academia.edu/Documents/in/21st_Century_French_Literature">21st Century French Literature</a>, <script data-card-contents-for-ri="20873" type="text/json">{"id":20873,"name":"21st Century French Literature","url":"https://www.academia.edu/Documents/in/21st_Century_French_Literature","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="171463" rel="nofollow" href="https://www.academia.edu/Documents/in/Litterature_Contemporaine_Francaise">Littérature Contemporaine Française</a><script data-card-contents-for-ri="171463" type="text/json">{"id":171463,"name":"Littérature Contemporaine Française","url":"https://www.academia.edu/Documents/in/Litterature_Contemporaine_Francaise","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=8944796]'), work: {"id":8944796,"title":"Écritures de l'insignifiant, Études françaises (ed.)","created_at":"2014-10-24T08:50:37.597-07:00","owner_id":19822807,"url":"https://www.academia.edu/8944796/%C3%89critures_de_linsignifiant_%C3%89tudes_fran%C3%A7aises_ed_","slug":"Écritures_de_linsignifiant_Études_françaises_ed_","dom_id":"work_8944796","summary":"C’est en lui accordant le crédit d’une signification jusqu’alors déniée que le roman moderne a pu faire du quelconque son objet. Ainsi l’insignifiant s’est-il vu accorder importance, à la faveur d’une mise en récit dans laquelle il a trouvé une direction, et un sens. Cette contradiction fondamentale d’une littérature qui cherche à dire le monde dans son foisonnement et ce faisant le met en ordre traverse tout le XXe siècle, sous diverses formes, et se manifeste avec une singulière acuité dans les écritures contemporaines. 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Dans la mesure où, de par sa nature littéraire,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8944821" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Cet ouvrage a pour objet l’étude de l’espace romanesque tel qu’il se donne à voir dans l’œuvre à travers l’ancrage géographique du récit et la configuration spatiale du monde qu’il dépeint. Dans la mesure où, de par sa nature littéraire, le monde représenté consiste uniquement en la mention et en la description de lieux – le reste ressortissant à la narration et donc essentiellement à l’action –, l’espace romanesque constitue, de fait, toute la réalité dans laquelle se meuvent les personnages : loin de fournir le seul cadre de l’intrigue, il est au fondement de l’univers fictionnel. Comment le constitue-t-il ? Quel sens donner dès lors aux notions d’espace mais aussi d’univers, de lieu ou de pays dans le cadre du roman et comment les décliner pour l’étude de la topographie fictionnelle ? <br />Une telle mise en question des relations qui unissent espace du roman et univers de la fiction conduit en outre à s’interroger sur la manière dont la spatialisation conditionne la généricité du texte. Établissant la notion de chronotope comme configuration spatio-temporelle originale, Bakhtine y voyait un élément définitoire du genre du roman dont elle permet de saisir les manifestations conjoncturelles. Or, le chronotope, bien qu’il lie indissociablement espace et temps, privilégie l’approche historique. De quelle manière, peut-on se demander, les coordonnées spatiales de l’univers romanesque déterminent-elles son inscription sur la carte des genres ? <br />Autant de questions fondamentales auxquelles une quinzaine de chercheurs des deux côtés de l’Atlantique et un écrivain féru de géographie imaginaire tâchent d’apporter des éléments de réponse, pour comprendre la fabrique topographique et l’inscrire dans la diachronie. <br />Avec un texte de Pierre Senges et les contributions d’Yves Baudelle, Marie-Hélène Boblet, Rachel Bouvet, Sylvain Brehm, Audrey Camus, Yves Clavaron, Isabelle Daunais, Lucie Desjardins, Bertrand Doyon-Gosselin, Daniel Laforest, Lucia Manea, Claude Murcia, Jean-François Richer, Céline Schmitt & Nathalie Solomon.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8944821" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bf7e54a4b15f9157814d03409659460c" rel="nofollow" data-download="{"attachment_id":35427194,"asset_id":8944821,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35427194/download_file?st=MTc0MDU3OTUxNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19822807" href="https://independentscholar.academia.edu/AudreyCamus">Audrey Camus</a><script data-card-contents-for-user="19822807" type="text/json">{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_8944821 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8944821"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8944821, container: ".js-paper-rank-work_8944821", }); 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$(".js-view-count[data-work-id=8944821]").text(description); $(".js-view-count-work_8944821").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_8944821").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="8944821"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="138740" rel="nofollow" href="https://www.academia.edu/Documents/in/Space_and_Place_in_Literature">Space and Place in Literature</a>, <script data-card-contents-for-ri="138740" type="text/json">{"id":138740,"name":"Space and Place in Literature","url":"https://www.academia.edu/Documents/in/Space_and_Place_in_Literature","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="248659" rel="nofollow" href="https://www.academia.edu/Documents/in/Litt%C3%A9rature_et_espaces">Littérature et espaces</a><script data-card-contents-for-ri="248659" type="text/json">{"id":248659,"name":"Littérature et espaces","url":"https://www.academia.edu/Documents/in/Litt%C3%A9rature_et_espaces","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=8944821]'), work: {"id":8944821,"title":"Topographies Romanesques (ed., with Rachel Bouvet)","created_at":"2014-10-24T08:52:50.154-07:00","owner_id":19822807,"url":"https://www.academia.edu/8944821/Topographies_Romanesques_ed_with_Rachel_Bouvet_","slug":"Topographies_Romanesques_ed_with_Rachel_Bouvet_","dom_id":"work_8944821","summary":"Cet ouvrage a pour objet l’étude de l’espace romanesque tel qu’il se donne à voir dans l’œuvre à travers l’ancrage géographique du récit et la configuration spatiale du monde qu’il dépeint. Dans la mesure où, de par sa nature littéraire, le monde représenté consiste uniquement en la mention et en la description de lieux – le reste ressortissant à la narration et donc essentiellement à l’action –, l’espace romanesque constitue, de fait, toute la réalité dans laquelle se meuvent les personnages : loin de fournir le seul cadre de l’intrigue, il est au fondement de l’univers fictionnel. Comment le constitue-t-il ? Quel sens donner dès lors aux notions d’espace mais aussi d’univers, de lieu ou de pays dans le cadre du roman et comment les décliner pour l’étude de la topographie fictionnelle ?\r\nUne telle mise en question des relations qui unissent espace du roman et univers de la fiction conduit en outre à s’interroger sur la manière dont la spatialisation conditionne la généricité du texte. Établissant la notion de chronotope comme configuration spatio-temporelle originale, Bakhtine y voyait un élément définitoire du genre du roman dont elle permet de saisir les manifestations conjoncturelles. Or, le chronotope, bien qu’il lie indissociablement espace et temps, privilégie l’approche historique. De quelle manière, peut-on se demander, les coordonnées spatiales de l’univers romanesque déterminent-elles son inscription sur la carte des genres ?\r\nAutant de questions fondamentales auxquelles une quinzaine de chercheurs des deux côtés de l’Atlantique et un écrivain féru de géographie imaginaire tâchent d’apporter des éléments de réponse, pour comprendre la fabrique topographique et l’inscrire dans la diachronie.\r\nAvec un texte de Pierre Senges et les contributions d’Yves Baudelle, Marie-Hélène Boblet, Rachel Bouvet, Sylvain Brehm, Audrey Camus, Yves Clavaron, Isabelle Daunais, Lucie Desjardins, Bertrand Doyon-Gosselin, Daniel Laforest, Lucia Manea, Claude Murcia, Jean-François Richer, Céline Schmitt \u0026 Nathalie 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Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":138740,"name":"Space and Place in Literature","url":"https://www.academia.edu/Documents/in/Space_and_Place_in_Literature","nofollow":true},{"id":248659,"name":"Littérature et espaces","url":"https://www.academia.edu/Documents/in/Litt%C3%A9rature_et_espaces","nofollow":true}],"publication_year":2011,"publication_year_with_fallback":2011,"paper_rank":null,"all_time_views":269,"active_discussion":{}}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8983660" data-work_id="8983660" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8983660/_Noir_dans_le_th%C3%A9%C3%A2tre_o%C3%B9_la_sc%C3%A8ne_est_crayonn%C3%A9e_la_dramaturgie_romanesque_d_Herv%C3%A9_Bouchard">"Noir dans le théâtre où la scène est crayonnée" : la dramaturgie romanesque d’Hervé Bouchard</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Hervé Bouchard parodie le livre saint sur les rives d’un fleuve québécois qui ressemble fort à l’Achéron ; n’a de cesse de conjuguer reprise, réplique et trahison ; revendique plagiat et incorporation – c’est que sa langue n’appartient... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8983660" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Hervé Bouchard parodie le livre saint sur les rives d’un fleuve québécois qui ressemble fort à l’Achéron ; n’a de cesse de conjuguer reprise, réplique et trahison ; revendique plagiat et incorporation – c’est que sa langue n’appartient qu’à lui. L’écrivain, qui en réfère à Aristote aussi volontiers qu’à Tex Avery, mélange les genres autant que les registres, mais la singularité la plus grande du procès d’hybridation ininterrompu qui caractérise son œuvre tient sans doute à la conjugaison du narratif, du poétique et du dramatique. Son premier roman commençait par ces mots : « J’ai été Jacques Mailloux, comédien de naissance, enfant sans drame, dehors tout le temps. » Le second, intitulé Parents & amis sont invités à y assister, est sous-titré « Drame en quatre tableaux avec six récits au centre ». Le présent article analyse la manière dont ce lecteur de Diderot, Mallarmé, Novarina et quelques autres élabore ainsi une œuvre étrange, en perpétuel dialogue, pour détourner le théâtre à des fins romanesques et faire du romancier un comédien.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8983660" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="dc284f6df5e645dd041cb741e1931c0c" rel="nofollow" data-download="{"attachment_id":35297384,"asset_id":8983660,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35297384/download_file?st=MTc0MDU3OTUxNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19822807" href="https://independentscholar.academia.edu/AudreyCamus">Audrey Camus</a><script data-card-contents-for-user="19822807" type="text/json">{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_8983660 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8983660"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8983660, container: ".js-paper-rank-work_8983660", }); 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n’a de cesse de conjuguer reprise, réplique et trahison ; revendique plagiat et incorporation – c’est que sa langue n’appartient qu’à lui. L’écrivain, qui en réfère à Aristote aussi volontiers qu’à Tex Avery, mélange les genres autant que les registres, mais la singularité la plus grande du procès d’hybridation ininterrompu qui caractérise son œuvre tient sans doute à la conjugaison du narratif, du poétique et du dramatique. Son premier roman commençait par ces mots : « J’ai été Jacques Mailloux, comédien de naissance, enfant sans drame, dehors tout le temps. » Le second, intitulé Parents \u0026 amis sont invités à y assister, est sous-titré « Drame en quatre tableaux avec six récits au centre ». Le présent article analyse la manière dont ce lecteur de Diderot, Mallarmé, Novarina et quelques autres élabore ainsi une œuvre étrange, en perpétuel dialogue, pour détourner le théâtre à des fins romanesques et faire du romancier un comédien.","publication":"Pratiques et enjeux du détournement dans le discours littéraire aux XXe et XXIe siècles (Nathalie Dupont and Éric Trudel ed.)","publication_with_fallback":"Pratiques et enjeux du détournement dans le discours littéraire aux XXe et XXIe siècles (Nathalie Dupont and Éric Trudel 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js-work-link" href="https://www.academia.edu/9139304/Boris_Vian_l_enfance_de_l_%C3%A9criture">Boris Vian, l’enfance de l’écriture</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Si l’insolence provocatrice des jeunes zazous faisant sauter la baraque de Vercoquin et le Plancton pour fêter leur majorité est bien celle de l’adolescence, ce n’est pas tant la jeunesse qui caractérise les protagonistes des romans... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9139304" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Si l’insolence provocatrice des jeunes zazous faisant sauter la baraque de Vercoquin et le Plancton pour fêter leur majorité est bien celle de l’adolescence, ce n’est pas tant la jeunesse qui caractérise les protagonistes des romans ultérieurs de Vian qu’une enfantine et ravageuse candeur : leur langage, leurs jeux, leur égocentrisme en attestent. Quand l’adolescence incarne naturellement le conflit qui oppose l’enfance au monde adulte, en tant qu’elle constitue le point de passage et de confrontation entre les deux, l’enfance qui de la sorte vient s’y substituer dans le texte vianesque est insolite : elle confère à la rencontre des deux âges quelque chose de disproportionné et de monstrueux qui inscrit ces personnages dans la fratrie des enfants terribles de Roger Vitrac et de Günter Grass, bien plutôt que dans celle du Grand Meaulnes. C’est cette anomalie dont on se propose de faire lecture pour tâcher de comprendre comment l’enfance informe l’écriture, en considérant tour à tour la manière dont elle en constitue la destination, l’origine et le principe même.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9139304" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1d3cb6b9016336298b2033992a168d0a" rel="nofollow" data-download="{"attachment_id":35427752,"asset_id":9139304,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35427752/download_file?st=MTc0MDU3OTUxNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19822807" href="https://independentscholar.academia.edu/AudreyCamus">Audrey Camus</a><script data-card-contents-for-user="19822807" type="text/json">{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_9139304 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9139304"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9139304, container: ".js-paper-rank-work_9139304", }); 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Quand l’adolescence incarne naturellement le conflit qui oppose l’enfance au monde adulte, en tant qu’elle constitue le point de passage et de confrontation entre les deux, l’enfance qui de la sorte vient s’y substituer dans le texte vianesque est insolite : elle confère à la rencontre des deux âges quelque chose de disproportionné et de monstrueux qui inscrit ces personnages dans la fratrie des enfants terribles de Roger Vitrac et de Günter Grass, bien plutôt que dans celle du Grand Meaulnes. C’est cette anomalie dont on se propose de faire lecture pour tâcher de comprendre comment l’enfance informe l’écriture, en considérant tour à tour la manière dont elle en constitue la destination, l’origine et le principe même.","publication":"Europe n° 967-968","publication_with_fallback":"Europe n° 967-968","downloadable_attachments":[{"id":35427752,"asset_id":9139304,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/35427752/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/35427752/VianEnfance_ACamus-libre.pdf?1415188738=\u0026response-content-disposition=attachment%3B+filename%3DBoris_Vian_l_enfance_de_l_ecriture.pdf\u0026Expires=1740444387\u0026Signature=PecD1ZkufRh2UuTVpSIC2U1UdJPNU1jZYc6HZvpzyrIs1vYhtDmT04DZV4dQNKLxKwViVrFFgSgqiugEIe~4KMfs-Go-SzqSE524zkFRHsWAY93uFG1aO9rDJ9bxju1qG2Qp~wIyAdBs-LkRj-bT3i89aVtd8tQdAsmiu3IE0KatnBu6xYiB-QMCeaX57ymqhqlpfP81myiXJQF7i8VqBWem7oLYRoTXSXo9x~CyHWt6aOn-VVbjfTBkVt0gTP6eiOUAGFoSO6Cx-EoSY-vl~jEHZY3n39wSo60oVYhqh-Fz2Ac22wb~vRErG3ROVmH-VR3f3zOO3w~T4sSG6MgoiA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/35427752/download_file?st=MTc0MDU3OTUxNiw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/35427752/mini_magick20190315-25514-1setv2n.png?1552634100"}],"downloadable_attachments_with_full_thumbnails":[{"id":35427752,"asset_id":9139304,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/35427752/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/35427752/VianEnfance_ACamus-libre.pdf?1415188738=\u0026response-content-disposition=attachment%3B+filename%3DBoris_Vian_l_enfance_de_l_ecriture.pdf\u0026Expires=1740444387\u0026Signature=PecD1ZkufRh2UuTVpSIC2U1UdJPNU1jZYc6HZvpzyrIs1vYhtDmT04DZV4dQNKLxKwViVrFFgSgqiugEIe~4KMfs-Go-SzqSE524zkFRHsWAY93uFG1aO9rDJ9bxju1qG2Qp~wIyAdBs-LkRj-bT3i89aVtd8tQdAsmiu3IE0KatnBu6xYiB-QMCeaX57ymqhqlpfP81myiXJQF7i8VqBWem7oLYRoTXSXo9x~CyHWt6aOn-VVbjfTBkVt0gTP6eiOUAGFoSO6Cx-EoSY-vl~jEHZY3n39wSo60oVYhqh-Fz2Ac22wb~vRErG3ROVmH-VR3f3zOO3w~T4sSG6MgoiA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/35427752/download_file?st=MTc0MDU3OTUxNiw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/35427752/mini_magick20190315-25514-1setv2n.png?1552634100"}],"has_pdf":true,"has_fulltext":true,"page_count":7,"ordered_authors":[{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":660,"name":"French Literature","url":"https://www.academia.edu/Documents/in/French_Literature","nofollow":true},{"id":106154,"name":"Littérature Française","url":"https://www.academia.edu/Documents/in/Litt%C3%A9rature_Fran%C3%A7aise","nofollow":true},{"id":125004,"name":"Boris Vian","url":"https://www.academia.edu/Documents/in/Boris_Vian","nofollow":true},{"id":955414,"name":"Littérature Française Du XXe Siècle","url":"https://www.academia.edu/Documents/in/Litterature_Francaise_Du_XXe_Siecle","nofollow":true}],"publication_year":2009,"publication_year_with_fallback":2009,"paper_rank":null,"all_time_views":82,"active_discussion":{}}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9139514" data-work_id="9139514" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9139514/_Prak_engendra_Flop_Graal_Flibuste_ou_la_r%C3%A9p%C3%A9tition_subvertie_sur_Robert_Pinget_">‹Prak engendra Flop›. Graal Flibuste ou la répétition subvertie (sur Robert Pinget)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Reproduction de mécanismes génériques, réplique d’œuvres particulières, écho de la parole d’autrui, ritournelle des lieux communs, leitmotiv de la proliférante généalogie du dieu local, recréation d’espèces animales et végétales: Graal... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9139514" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Reproduction de mécanismes génériques, réplique d’œuvres particulières, écho de la parole d’autrui, ritournelle des lieux communs, leitmotiv de la proliférante généalogie du dieu local, recréation d’espèces animales et végétales: Graal Flibuste1 que Robert Pinget, trente ans après sa parution, décrivait comme une «parodie bourrée de poncifs»2, cultive la répétition savamment détournée jusqu’au vertige… <br />Ce jeu sur la reconnaissance et la subversion, où l’écart généré par l’inscription dialogique constitue le ressort du comique, s’avère particulièrement digne d’intérêt en ce qu’il porte atteinte au mécanisme répétitif qui le fonde. Il apparaît ainsi que la répétition, communément perçue depuis les travaux de Bergson comme une source essentielle du comique en tant qu’elle introduit le mécanique au cœur du vivant, engendre encore le rire par l’attente qu’elle s’emploie à susciter pour mieux la déjouer. C’est ce mécanisme de la répétition subvertie que l’on se propose d’analyser à travers l’insolite pays imaginaire de Robert Pinget, dont il pourrait bien constituer la clef. <br />— <br />1. Robert Pinget, Graal Flibuste, Paris: Union Générale d’Édition, coll. «10/18 », 1963 (1956) / Édition intégrale, Paris, Éditions de Minuit, 1966. <br />2. Entretien daté de 1986 in Jean Roudaut, Robert Pinget. Le Vieil homme et l’enfant, Carouge-Genève: Éditions Zoé, 2001.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9139514" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bbe2721b6324b027d4bce1de14877275" rel="nofollow" data-download="{"attachment_id":35427932,"asset_id":9139514,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35427932/download_file?st=MTc0MDU3OTUxNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19822807" href="https://independentscholar.academia.edu/AudreyCamus">Audrey Camus</a><script data-card-contents-for-user="19822807" type="text/json">{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_9139514 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9139514"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9139514, container: ".js-paper-rank-work_9139514", }); 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Il apparaît ainsi que la répétition, communément perçue depuis les travaux de Bergson comme une source essentielle du comique en tant qu’elle introduit le mécanique au cœur du vivant, engendre encore le rire par l’attente qu’elle s’emploie à susciter pour mieux la déjouer. C’est ce mécanisme de la répétition subvertie que l’on se propose d’analyser à travers l’insolite pays imaginaire de Robert Pinget, dont il pourrait bien constituer la clef.\r\n—\r\n1. Robert Pinget, Graal Flibuste, Paris: Union Générale d’Édition, coll. «10/18 », 1963 (1956) / Édition intégrale, Paris, Éditions de Minuit, 1966.\r\n2. Entretien daté de 1986 in Jean Roudaut, Robert Pinget. Le Vieil homme et l’enfant, Carouge-Genève: Éditions Zoé, 2001.","publication":"Études Littéraires vol 38.2 ( Le comique de répétition, ed. Yen-Mai Tran-Gervat)","publication_with_fallback":"Études Littéraires vol 38.2 ( Le comique de répétition, ed. Yen-Mai Tran-Gervat)","downloadable_attachments":[{"id":35427932,"asset_id":9139514,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/35427932/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/35427932/PrakEngendraFlop_ACamus-libre.pdf?1415188731=\u0026response-content-disposition=attachment%3B+filename%3DPrak_engendra_Flop_Graal_Flibuste_ou_la.pdf\u0026Expires=1740436522\u0026Signature=Qt46aiov81GhOw1i-lZvraUphrJziu6F9fVP1ZIH9BleDnnMy92to6z-8~cPb5fcy6nPL6pEsyI84Xh7ZIrR1kk0SgIBwtVsd6PCmTDY0ecL9ACEI3mImGEV6S~qNskXitdi1oRiS-qcc05WBm4F9hY4RIi1Kwk4SuJWhW3q0CaQE5hdr2dnRZlXxiMASXSaSo0roEl6rXRMjfF-LiyldPV0hA74kdSnyNO7V5duLPafhjjUp5aeHo1tX6mRxHmO7l-Oop~2I83qmoZ54cMScHLWBH9EbAy8Svy009~SDM10W~DznZAFIjtooTHIcG5fazHwr0-lyBP9Do2Kxwp33g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/35427932/download_file?st=MTc0MDU3OTUxNiw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/35427932/mini_magick20190315-20836-ssrxho.png?1552634011"}],"downloadable_attachments_with_full_thumbnails":[{"id":35427932,"asset_id":9139514,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/35427932/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/35427932/PrakEngendraFlop_ACamus-libre.pdf?1415188731=\u0026response-content-disposition=attachment%3B+filename%3DPrak_engendra_Flop_Graal_Flibuste_ou_la.pdf\u0026Expires=1740436522\u0026Signature=Qt46aiov81GhOw1i-lZvraUphrJziu6F9fVP1ZIH9BleDnnMy92to6z-8~cPb5fcy6nPL6pEsyI84Xh7ZIrR1kk0SgIBwtVsd6PCmTDY0ecL9ACEI3mImGEV6S~qNskXitdi1oRiS-qcc05WBm4F9hY4RIi1Kwk4SuJWhW3q0CaQE5hdr2dnRZlXxiMASXSaSo0roEl6rXRMjfF-LiyldPV0hA74kdSnyNO7V5duLPafhjjUp5aeHo1tX6mRxHmO7l-Oop~2I83qmoZ54cMScHLWBH9EbAy8Svy009~SDM10W~DznZAFIjtooTHIcG5fazHwr0-lyBP9Do2Kxwp33g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/35427932/download_file?st=MTc0MDU3OTUxNiw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/35427932/mini_magick20190315-20836-ssrxho.png?1552634011"}],"has_pdf":true,"has_fulltext":true,"page_count":14,"ordered_authors":[{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":660,"name":"French Literature","url":"https://www.academia.edu/Documents/in/French_Literature","nofollow":true},{"id":20876,"name":"Nouveau roman","url":"https://www.academia.edu/Documents/in/Nouveau_roman","nofollow":true},{"id":106154,"name":"Littérature Française","url":"https://www.academia.edu/Documents/in/Litt%C3%A9rature_Fran%C3%A7aise","nofollow":true},{"id":143730,"name":"Robert Pinget","url":"https://www.academia.edu/Documents/in/Robert_Pinget","nofollow":true},{"id":970943,"name":"French Nouveau Roman Theories and Practices","url":"https://www.academia.edu/Documents/in/French_Nouveau_Roman_Theories_and_Practices"}],"publication_year":2007,"publication_year_with_fallback":2007,"paper_rank":null,"all_time_views":24,"active_discussion":{}}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9387754" data-work_id="9387754" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9387754/Les_contr%C3%A9es_%C3%A9tranges_de_l_insignifiant_retour_sur_la_notion_de_fantastique_moderne">Les contrées étranges de l’insignifiant: retour sur la notion de fantastique moderne</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Quoique la critique ait unanimement enregistré une évolution essentielle du genre fantastique au XXe siècle, elle peine à s’entendre sur la nature de cette évolution plurielle. Postulant que le fantastique moderne tel qu’il a été... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9387754" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Quoique la critique ait unanimement enregistré une évolution essentielle du genre fantastique au XXe siècle, elle peine à s’entendre sur la nature de cette évolution plurielle. Postulant que le fantastique moderne tel qu’il a été circonscrit par Sartre puis Todorov constitue bien un nouvel avatar du genre, l’article se propose de revenir sur leurs analyses pour interroger tout à la fois la singularité positive de cet avatar et le rapport de dépendance et de continuité qu’il entretient malgré tout avec la tradition. Caractérisé par l’absence d’action et l’absence de réaction du protagoniste dans un monde devenu « tout entier bizarre », ce fantastique multiplie les signes précurseurs et les indicateurs génériques déceptifs, déjouant les attentes du lecteur. Devenu seul témoin de l’étrange, ce dernier est ainsi conduit à réduire ces incohérences par l’interprétation, cependant que le texte, par l’activité symbolique déficiente qu’il déploie, tend à lui refuser le statut d’interprète pour rendre l’étrange à sa littéralité singulière. Le fantastique moderne, qui livre son lecteur à l’indéterminé à travers la mise en déroute successive de ses compétences pragmatique, générique et herméneutique, apparaît finalement le moyen pour le texte de synthétiser l’insignifiant dans sa banalité.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9387754" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="09ec06d8f2d45f8caf8bb8664ef3c1a9" rel="nofollow" data-download="{"attachment_id":35637510,"asset_id":9387754,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35637510/download_file?st=MTc0MDU3OTUxNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19822807" href="https://independentscholar.academia.edu/AudreyCamus">Audrey Camus</a><script data-card-contents-for-user="19822807" type="text/json">{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_9387754 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9387754"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9387754, container: ".js-paper-rank-work_9387754", }); 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$(".js-view-count[data-work-id=9387754]").text(description); $(".js-view-count-work_9387754").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9387754").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9387754"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="8446" rel="nofollow" href="https://www.academia.edu/Documents/in/Franz_Kafka">Franz Kafka</a>, <script data-card-contents-for-ri="8446" type="text/json">{"id":8446,"name":"Franz Kafka","url":"https://www.academia.edu/Documents/in/Franz_Kafka","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="9471" rel="nofollow" href="https://www.academia.edu/Documents/in/Reading">Reading</a>, <script data-card-contents-for-ri="9471" type="text/json">{"id":9471,"name":"Reading","url":"https://www.academia.edu/Documents/in/Reading","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="27317" rel="nofollow" href="https://www.academia.edu/Documents/in/Dino_Buzzati">Dino Buzzati</a>, <script data-card-contents-for-ri="27317" type="text/json">{"id":27317,"name":"Dino Buzzati","url":"https://www.academia.edu/Documents/in/Dino_Buzzati","nofollow":true}</script><a class="InlineList-item-text" data-has-card-for-ri="38957" rel="nofollow" href="https://www.academia.edu/Documents/in/Henri_Michaux_Literature_">Henri Michaux (Literature)</a><script data-card-contents-for-ri="38957" type="text/json">{"id":38957,"name":"Henri Michaux (Literature)","url":"https://www.academia.edu/Documents/in/Henri_Michaux_Literature_","nofollow":true}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9387754]'), work: {"id":9387754,"title":"Les contrées étranges de l’insignifiant: retour sur la notion de fantastique moderne","created_at":"2014-11-18T23:16:27.028-08:00","owner_id":19822807,"url":"https://www.academia.edu/9387754/Les_contr%C3%A9es_%C3%A9tranges_de_l_insignifiant_retour_sur_la_notion_de_fantastique_moderne","slug":"Les_contrées_étranges_de_l_insignifiant_retour_sur_la_notion_de_fantastique_moderne","dom_id":"work_9387754","summary":"Quoique la critique ait unanimement enregistré une évolution essentielle du genre fantastique au XXe siècle, elle peine à s’entendre sur la nature de cette évolution plurielle. 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Le fantastique moderne, qui livre son lecteur à l’indéterminé à travers la mise en déroute successive de ses compétences pragmatique, générique et herméneutique, apparaît finalement le moyen pour le texte de synthétiser l’insignifiant dans sa banalité.","publication":"Études françaises 45.1","publication_with_fallback":"Études françaises 45.1","downloadable_attachments":[{"id":35637510,"asset_id":9387754,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/35637510/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/35637510/FantastiqueModerne_ACamus-libre.pdf?1416384495=\u0026response-content-disposition=attachment%3B+filename%3DLes_contrees_etranges_de_l_insignifiant.pdf\u0026Expires=1740277817\u0026Signature=UcvSXrFc2zA-AIrig3AAsICJaqwVufTWv8edoexrvoyRDO~CW17pQZzomA4px0XiVFCsE1UFU9CwnRGRugFDLdQNFpqmEGQJm2ksIWWWNiJ3ljnuXRaHMGZYhVV~r0sPax1bSAzZtJRiWkmfSdi48ZdYtFWA1ucHzXHRW0KpJrAR6PgVPOdMwR2csj6IjpXB9Ip896gqPlmxM0XFo16ALRYfR6mbAv1ICXosqroBeJoImHRX3VM5PUTWRmOKPd950KbhOdTL7JoDFm8qAmuXDGF8OTrDK8qlmZ-eRq~nOKkN7BqbAR93z22O4O5Rn9SCQMxGFcgBH5~~havq67nkMg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/35637510/download_file?st=MTc0MDU3OTUxNiw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/35637510/mini_magick20190313-18584-12ffg2n.png?1552472217"}],"downloadable_attachments_with_full_thumbnails":[{"id":35637510,"asset_id":9387754,"asset_type":"Work","always_allow_download":false,"scribd_thumbnail_url":"https://attachments.academia-assets.com/35637510/thumbnails/1.jpg","download_url":"https://d1wqtxts1xzle7.cloudfront.net/35637510/FantastiqueModerne_ACamus-libre.pdf?1416384495=\u0026response-content-disposition=attachment%3B+filename%3DLes_contrees_etranges_de_l_insignifiant.pdf\u0026Expires=1740277817\u0026Signature=UcvSXrFc2zA-AIrig3AAsICJaqwVufTWv8edoexrvoyRDO~CW17pQZzomA4px0XiVFCsE1UFU9CwnRGRugFDLdQNFpqmEGQJm2ksIWWWNiJ3ljnuXRaHMGZYhVV~r0sPax1bSAzZtJRiWkmfSdi48ZdYtFWA1ucHzXHRW0KpJrAR6PgVPOdMwR2csj6IjpXB9Ip896gqPlmxM0XFo16ALRYfR6mbAv1ICXosqroBeJoImHRX3VM5PUTWRmOKPd950KbhOdTL7JoDFm8qAmuXDGF8OTrDK8qlmZ-eRq~nOKkN7BqbAR93z22O4O5Rn9SCQMxGFcgBH5~~havq67nkMg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA","download_file_url":"https://www.academia.edu/attachments/35637510/download_file?st=MTc0MDU3OTUxNiw4LjIyMi4yMDguMTQ2&","full_thumbnail_url":"https://0.academia-photos.com/attachment_thumbnails/35637510/mini_magick20190313-18584-12ffg2n.png?1552472217"}],"has_pdf":true,"has_fulltext":true,"page_count":20,"ordered_authors":[{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":8446,"name":"Franz Kafka","url":"https://www.academia.edu/Documents/in/Franz_Kafka","nofollow":true},{"id":9471,"name":"Reading","url":"https://www.academia.edu/Documents/in/Reading","nofollow":true},{"id":27317,"name":"Dino Buzzati","url":"https://www.academia.edu/Documents/in/Dino_Buzzati","nofollow":true},{"id":38957,"name":"Henri Michaux (Literature)","url":"https://www.academia.edu/Documents/in/Henri_Michaux_Literature_","nofollow":true},{"id":60153,"name":"Fantastic Literature","url":"https://www.academia.edu/Documents/in/Fantastic_Literature"},{"id":103417,"name":"Lecture","url":"https://www.academia.edu/Documents/in/Lecture"},{"id":125004,"name":"Boris Vian","url":"https://www.academia.edu/Documents/in/Boris_Vian"},{"id":143730,"name":"Robert Pinget","url":"https://www.academia.edu/Documents/in/Robert_Pinget"},{"id":305464,"name":"Banal","url":"https://www.academia.edu/Documents/in/Banal"},{"id":406257,"name":"Julien Gracq","url":"https://www.academia.edu/Documents/in/Julien_Gracq"}],"publication_year":2009,"publication_year_with_fallback":2009,"paper_rank":null,"all_time_views":162,"active_discussion":{}}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9387904" data-work_id="9387904" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9387904/_Choir_sans_fin_dans_Choir_la_lecture_comme_exercice_utopique">« Choir sans fin dans Choir », la lecture comme exercice utopique</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">On assiste actuellement en France au renouvellement du questionnement utopique, tant dans l’actualité littéraire que dans la réflexion théorique. Ce renouvellement passe notamment par la redécouverte du texte fondateur de Thomas More,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9387904" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">On assiste actuellement en France au renouvellement du questionnement utopique, tant dans l’actualité littéraire que dans la réflexion théorique. Ce renouvellement passe notamment par la redécouverte du texte fondateur de Thomas More, dont la facture complexe engage le lecteur dans une expérience formatrice et déstabilisante, ignorée des détracteurs de l’œuvre et qui pourrait bien constituer le cœur de L’Utopie. <br />L’article se propose de montrer que c’est à une semblable expérience qu’Éric Chevillard convie le lecteur de Choir (Minuit, 2010). Alors que le roman peut d’abord apparaître comme la représentation mythique de l’échec des utopies, ce premier niveau de lecture se trouve en effet contrarié de diverses manières. Non content de conférer à la pratique de la digression conjecturale chère à l’auteur une extension jamais atteinte jusqu’alors, Choir escamote tout d’abord la métalepse dont cette pratique s’accompagne habituellement. Ce faisant, il prive le lecteur du dehors qui lui garantissait une position de complice pour le livrer à l’inconfort d’une chute sans cesse réitérée au sein d’un intertexte mouvant, en proie à un vertige du sens auquel seule la catastrophe ultime viendra mettre fin. De l’utopie au mythe en passant par le monde renversé, l’analyse de l’ingénieux dispositif par lequel Éric Chevillard – lecteur de Lautréamont – piège ainsi son propre lecteur invite à considérer Choir comme une expérience de lecture singulière visant à recharger le texte d’une efficace nouvelle.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9387904" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ea3a04e51c273fda7e82819436575635" rel="nofollow" data-download="{"attachment_id":59102166,"asset_id":9387904,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59102166/download_file?st=MTc0MDU3OTUxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19822807" href="https://independentscholar.academia.edu/AudreyCamus">Audrey Camus</a><script data-card-contents-for-user="19822807" type="text/json">{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_9387904 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9387904"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9387904, container: ".js-paper-rank-work_9387904", }); 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De l’utopie au mythe en passant par le monde renversé, l’analyse de l’ingénieux dispositif par lequel Éric Chevillard – lecteur de Lautréamont – piège ainsi son propre lecteur invite à considérer Choir comme une expérience de lecture singulière visant à recharger le texte d’une efficace nouvelle.","publication":"Revue d'Histoire Littéraire de la France","publication_with_fallback":"Revue d'Histoire Littéraire de la 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class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Résumé Quoique la critique ait unanimement enregistré une évolution essentielle du genre fantastique au xxe siècle, elle peine à s’entendre sur la nature de cette évolution plurielle. Postulant que le fantastique moderne tel qu’il a été... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_78213571" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Résumé Quoique la critique ait unanimement enregistré une évolution essentielle du genre fantastique au xxe siècle, elle peine à s’entendre sur la nature de cette évolution plurielle. Postulant que le fantastique moderne tel qu’il a été circonscrit par Sartre puis Todorov constitue bien un nouvel avatar du genre, l’article se propose de revenir sur leurs analyses pour interroger tout à la fois la singularité positive de cet avatar et le rapport de dépendance et de continuité qu’il entretient malgré tout avec la tradition. Caractérisé par l’absence d’action et l’absence de réaction du protagoniste dans un monde devenu « tout entier bizarre », ce fantastique multiplie les signes précurseurs et les indicateurs génériques déceptifs, déjouant les attentes du lecteur. Devenu seul témoin de l’étrange, ce dernier est ainsi conduit à réduire ces incohérences par l’interprétation, cependant que le texte, par l’activité symbolique déficiente qu’il déploie, tend à lui refuser le statut d’interp...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/78213571" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3993c88eebff5d63a0468c58f0bb905a" rel="nofollow" data-download="{"attachment_id":85338956,"asset_id":78213571,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/85338956/download_file?st=MTc0MDU3OTUxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19822807" href="https://independentscholar.academia.edu/AudreyCamus">Audrey Camus</a><script data-card-contents-for-user="19822807" type="text/json">{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_78213571 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="78213571"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 78213571, container: ".js-paper-rank-work_78213571", }); 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Si le sujet revient souvent, c’est d’abord sans doute parce que cette dénomination qui figure sur la couverture de ses ouvrages fait question, mais aussi parce que... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_94270937" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Éric Chevillard livre volontiers ses réflexions d’écrivain sur le roman. Si le sujet revient souvent, c’est d’abord sans doute parce que cette dénomination qui figure sur la couverture de ses ouvrages fait question, mais aussi parce que l’auteur prend manifestement plaisir à tailler en pièces l’image de ce qu’il appelle le « bon vieux roman ». Sa récente contribution au récit des aventures de la marquise valéryenne laisse néanmoins transparaître une certaine tendresse à l’égard du genre. Emboîtant le pas à cette infatigable héroïne, on se propose de montrer que la fictionnalisation du commentaire dont elle est le support constitue paradoxalement le vecteur d’une régénération du roman.Eric Chevillard gladly delivers his thoughts on the novel. If the subject comes up often in his writing, it is probably because the genre of his books raises a number of questions, but also because he takes obvious pleasure in cutting to pieces the image of what he calls the &quot;good old novel&quot;. ...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/94270937" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4f0cc2cf0b12c98cad61a9cb10dd7652" rel="nofollow" data-download="{"attachment_id":96774362,"asset_id":94270937,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/96774362/download_file?st=MTc0MDU3OTUxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19822807" href="https://independentscholar.academia.edu/AudreyCamus">Audrey Camus</a><script data-card-contents-for-user="19822807" type="text/json">{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_94270937 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="94270937"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 94270937, container: ".js-paper-rank-work_94270937", }); 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Si le sujet revient souvent, c’est d’abord sans doute parce que cette dénomination qui figure sur la couverture de ses ouvrages fait question, mais aussi parce que l’auteur prend manifestement plaisir à tailler en pièces l’image de ce qu’il appelle le « bon vieux roman ». Sa récente contribution au récit des aventures de la marquise valéryenne laisse néanmoins transparaître une certaine tendresse à l’égard du genre. Emboîtant le pas à cette infatigable héroïne, on se propose de montrer que la fictionnalisation du commentaire dont elle est le support constitue paradoxalement le vecteur d’une régénération du roman.Eric Chevillard gladly delivers his thoughts on the novel. If the subject comes up often in his writing, it is probably because the genre of his books raises a number of questions, but also because he takes obvious pleasure in cutting to pieces the image of what he calls the \u0026quot;good old novel\u0026quot;. ...","publication":"@nalyses. 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À étudier ce jeu sur la reconnaissance et la subversion, où l’écart généré par l’inscription dialogique constitue le ressort du comique, il apparaît que la répétition, communément perçue depuis les travaux de Bergson comme une source essentielle du comique en tant qu’elle introduit le mécanique au coeur du vivant, entraîne ici le rire par l’attente qu’elle s’emploie à susciter pour mieux la déjouer, moyen pour l’écrivain de porter ludiquement atteinte au mécanisme qui fonde sa pratique afin de n’en être pas dupe.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/94270998" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8abc8cdf4bb72fac397e827af55df13c" rel="nofollow" data-download="{"attachment_id":96774471,"asset_id":94270998,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/96774471/download_file?st=MTc0MDU3OTUxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19822807" href="https://independentscholar.academia.edu/AudreyCamus">Audrey Camus</a><script data-card-contents-for-user="19822807" type="text/json">{"id":19822807,"first_name":"Audrey","last_name":"Camus","domain_name":"independentscholar","page_name":"AudreyCamus","display_name":"Audrey Camus","profile_url":"https://independentscholar.academia.edu/AudreyCamus","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_94270998 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="94270998"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 94270998, container: ".js-paper-rank-work_94270998", }); 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On a en soi des raisons essentielles de dégoftt et on les fait taire sous une couche de détails affreusement secondaires. Antoine Volodine, Le Nom des Singes. Au... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_127291721" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Tous les matins je réfléchis à des problèmes de lexicographie [ ... ]. On a en soi des raisons essentielles de dégoftt et on les fait taire sous une couche de détails affreusement secondaires. Antoine Volodine, Le Nom des Singes. Au confluent de l'utopie, du fantastique et de la science-fiction, l'oeuvre d'Antoine Volodine, dont la langue cultive l'esquive et l'ambi guïté, défie les catégorisations comme elle joue du langage, à travers une onomastique singulière où se mêlent des influences linguistiques et intertextuelles cosmopolites, pour plonger le lecteur dans un monde à la fois étrange et familier. Fruit des atrocités de l'histoire du XX e siècle et de la faillite des révolutions, cette oeuvre, profondément dysphorique, met en scène dans un décor cauchemardesque des protagonistes que leur auteur explique « mus par des idéologies radicales et confrontés à la disparition des conditions permettant à l'utopie généreuse de se concrétiser » 1 , mais matérialise pourtant, paradoxalement, l'utopie dont elle dit l'échec, en échafaudant depuis près de vingt ans une « littérature des poubelles » baptisée du nom de post-exotisme, dont les modalités sont les suivantes: « Disons que sous ma signature, comprise comme celle d'un prête-nom, paraissent les ouvrages de plusieurs écrivains anonymes -les sur narrateurs -qui appartiennent à un même mouvement de penséel'utopie extrémiste. Ces sur-narrateurs partagent le même destin : la défaite ph ys ique après l'action révolutionnaire, la défaite morale, l'oubli, la mort, l'emprisonnement. Ces textes sont écrits pour des lecteurs considérés comme complices. Ils sont écrits ou dits, récités, murmurés, depuis un monde clos. Les sur-narrateurs racontent des histoires et, quelque part dans le tissu romanesque, ils font passer quelque chose de leur culture de marge et de révolte. En mettant en scène des personnages, ils exposent leur propre imaginaire et leur mémoire, et leurs hantises 2 ». 1. « L'écriture, une posture militante », propos recueillis par Philippe Savary dans Le Matricule eks anges, N ° 20, juillet-aoOt 1997, p. 18-21. • • • 2 Ibid. 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