Olivier Parenteau, Quatre poètes dans la Grande Guerre. Apollinaire, Cocteau, Drieu la Rochelle, Éluard

Docente di letteratura a Montréal e membro del CRIST, il centro di ricerca che si occupa di sociocritica del testo, Olivier Parenteau pubblica un lavoro tratto dalla sua tesi di dottorato, discussa nel 2010 all’Università McGill. In questi anni di commemorazione del centenario della guerra del ’14-’18, molte sono le opere e i progetti scientifici dedicati alla Prima Guerra mondiale; il volume di Parenteau ha il merito di concentrarsi su un aspetto particolare della Grande Guerra – la scrittur..

Olivier Belin, René Char et le surréalisme

Il presente volume pubblica la tesi di dottorato che Olivier Belin ha discusso alla Sorbona nell’ottobre 2008, sotto la direzione di Michel Jarrety. Le oltre seicento pagine del suo René Char et le surréalisme sono organizzate in dieci capitoli, che si susseguono secondo un’alternanza di momenti descrittivi e compilativi, e momenti di analisi e storia letteraria. Il lavoro è incorniciato da un’introduzione, una conclusione, una bibliografia, un indice dei nomi e un’appendice con la trascrizio..

Changing explicit and implicit attitudes: the case of self-esteem

Three experiments investigated predictions concerning asymmetrical patterns of implicit and explicit self-esteem change. Specifically, we investigated the influence of knowledge about the own self that is momentarily salient as well as the influence of affective valence associated with the self in memory on implicit and explicit self-esteem. The latter was induced by evaluative conditioning, the former by directed thinking about oneself. We found that while evaluative conditioning changed implicit but not explicit self-esteem (Experiment 1), thinking about the own self altered explicit but not implicit self-esteem (Experiment 2). Moreover, in a third experiment, it could be shown that the effect of evaluative conditioning can spill over to the explicit level when participants are asked to focus on their feelings prior to making their self-report judgements (Experiment 3). Implications of our results are discussed in terms of recent controversies regarding dual process models of attitudes and associative versus propositional modes of information processing

Primo Conti nelle Imbottigliature (1917): Immagini dai fronti interni

International audiencePrimo Conti’s Imbottigliature (1917) is the result of multiple contemporary influences. Even though it is manifestly a futuristic collection, Imbottigliature is issued from the Florentine Futurism of the second half of 1910, which was always based on bellicose rhetoric, while the war itself had changed status. The conflict was no longer a futuristic perspective projected into the future, but a kind of swamp in which Europe had been immobilized for two or three years – the action was blurred by the over-dimension of the waiting. Imbottigliature, literally « put into glass bottle », thus metaphorise the static atmosphere of Florence, city of the home front: war is present, but distant, blurred by a speech that is no longer only poetically words-in-freedom or rhetorically interventist. The writing then slides towards an inner front, more interested in spiritual exploration, conciliating collectivizing impulses with individual ones.L’œuvre de Primo Conti Imbottigliature (1917) est le fruit d’une conjoncture singulière. Recueil ouvertement futuriste, il est néanmoins issu du futurisme florentin de la deuxième moitié des années 10, qui affichait une rhétorique belliqueuse nuancée, étant donné que la guerre n’était plus une perspective utopique projetée dans le futur, mais une sorte de marécage dans lequel l’Europe était immobilisée depuis deux-trois ans. Les Imbottigliature, littéralement « embouteillages » ou « mises en bouteille », métaphorisent donc l’atmosphère statique de Florence, ville de l’intérieur : la guerre y est présente, mais éloignée, estompée par une prise de parole qui n’est plus uniquement poétiquement mot-libriste ou rhétoriquement interventiste. L’écriture glisse alors vers un front intérieur, davantage intéressé par l’exploration spirituelle, conciliant les pulsions collectivisantes avec celles individuelles

Les avant-gardes et la narration : Pour une poétique anti-prosaïque

International audienceEuropean Avant-gardes of the early 20th century held a discourse and production strangely (and often unintentionally) homogeneous as to the novel as a form: in theory, Futurists, Dadaists and Surrealists are firmly against this form embodying, willy-nilly, the expression of the bourgeois spirit of the Nineteenth century. However, from a practical point of view, it is clear that these avant-garde authors wrote several novels. It is not just yet another paradox that characterizes modernity, but rather a posture that requires a reflection on the formal constraints that inspire prosaic production of avant-garde and an analysis of a corpus of prose often disregarded because of its hermetic form, closer to poetry than to narrative. Cited authors: De Maria, Marinetti, Rabaté, D' Ascia, Dupuis, Chénieux-Gendron, Tzara, Breton, Reverdy, Crevel, Soffici, Masi, Murat.Les avant-gardes européennes de la première moitié du XXe siècle tiennent un discours et une production étrangement (et souvent involontairement) unitaires vis-à-vis du roman : au niveau théorique, les futuristes, les dadaïstes et les surréalistes sont résolument contre cette forme littéraire qui incarne, bon gré mal gré, l’expression de l’esprit bourgeois du XIXe siècle ; toutefois, d’un point de vue pratique, force est de constater que ces mêmes avant-gardistes ont écrit plusieurs romans. Il ne s’agit pas seulement de l’énième paradoxe caractérisant la modernité, mais plutôt d’une posture qui nécessite une réflexion autour des contraintes formelles qui inspirent la production prosaïque des avant-gardes et d’une analyse sur un corpus de textes en prose souvent laissés de côté en raison de leur hermétisme qui les rapproche davantage de la poésie. Bibliographie des auteurs cités : De Maria, Marinetti, Rabaté, D’Ascia, Dupuis, Chénieux-Gendron, Tzara, Breton, Reverdy, Crevel, Soffici, Masi, Murat

Juliette Bertrand et René Novella, deux traducteurs et un collaborateur difficile : Malaparte

International audienc

Joyce Mansour, Œuvres complètes. Prose et poésie

Tra il 2014 e il 2015, Joyce Mansour (1928-1986) riesce finalmente a occupare il posto che le spetta agli occhi della critica letteraria e artistica internazionale: una mostra è stata organizzata in suo onore al museo parigino del Quai Branly (Joyce Mansour, poétesse et collectionneuse, 18 novembre 2014-1 febbraio 2015); la sua biografia, che lega indissolubilmente la sua storia a quella di André Breton e del movimento surrealista, è pubblicata da Marie-Francine Mansour presso le edizioni Fra..

Représenter le renouveau : la modernité dans les traductions françaises de la "Vita nova" de Dante

International audienceRepresenting a Renewal: Modernity in French Translations of Dante’s Vita nova The young Dante Alighieri’s “little book” Vita nuova (or Vita nova or New Life), has achieved an unprecedented editorial success since the 19thcentury. In fact, five translations into French were published in less than 70 years, showing the value that this “minor” work of the medieval Florentine poet acquired in this period. As a matter of fact, Dante’s medievallifetime assumed alternately romantic, melancholic, decadent and symbolist nuances and embodied the emerging ideal of life as a work of art. This “life” depicted in Dante’s book was defined by an adjective, sometimesgiven in its Latin form nova, sometimes Italianized as nuova, which easily started the contemporary and vivid debate on modernity, where youth and novelty became salient features.Key words: Dante Alighieri, Vita nova, translations, modernity, 19th-20th centuriesNovus et modernus entre XIX e et XX e siècles. La traduction du titre Vita nova Novus et modernus ne sont pas des synonymes. Pourtant leur lien est indissoluble également dans la présente étude qui se propose de (re-)par-courir certains aspects liés à la modernité de la réception entre XIX e et XX e siècles de la Vita nova de Dante, une oeuvre considérée longtemps comme « mineure » dans l'ensemble de la production de la couronne par antonomase de la littérature italienne. L'interrogation sur la modernité de Dante et, plus en général, sur la modernité de certains auteurs et textes médiévaux, n'est pas une nou-veauté absolue : chaque fois que la question de la « modernité » est posée, la composante de la « nouveauté » devient primordiale. Ainsi, dans sa Vita nova Dante se veut moderne, lorsqu'il puise de la Poetria nova (1208-1213) de Geoffroy de Vinsauf 1 , oeuvre qui témoigne, selon 1 Selon Domenico De Robertis, la reprise est évidente aux chapitres 15, 16, 19, 22, 25, 31 de l'oeuvre de Dante [De Robertis et Contini, 1995]

“Capitale de la douleur” de Paul Éluard. Formes de la poésie/poésie des formes

Professore di Lingua e letteratura francese all’Università di Bordeaux 3, membro delle commissioni per i concorsi della scuola secondaria (agrégation e CAPES), nonché autore di numerosi manuali di volgarizzazione, Jean-Michel Gouvard pubblica l’ennesimo studio su Capitale de la douleur di Éluard, nell’anno in cui la raccolta figura nel programma della prova dell’agrégation. Interessato a questioni legate alla versificazione e alla stilistica, Jean-Michel Gouvard inquadra la raccolta di Éluard..

Maria Dario, «Les Soirées de Paris», laboratorio creativo dell’avanguardia

Le riviste letterarie pongono lo studioso davanti alla necessità di un approccio metodologico specifico: è quello che appare chiaro alla lettura della «Premessa» di Mario Richter e del primo capitolo del volume che Maria Dario dedica alla rivista parigina «Les Soirées de Paris» (1912-1914). Rivista di avanguardia, «Les Soirées de Paris» è una di quelle petites revues di cui Rémy de Gourmont parlava già nel 1900, per indicare quei fenomeni editoriali più o meno effimeri, a circolazione limitat..