Écritures déliées

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Écritures déliées / Unmoored Languages

Le texte littéraire, à l’évidence, n’entretient pas envers le monde un simple rapport de représentation – un énoncé qu’il convient aussitôt de corriger, la représentation n’étant jamais simple. Pour l’auteur comme le lecteur, l’expérience est avant tout langagière : le texte semble parfois se générer lui-même, au fil de phénomènes de ressemblance, de parenté ou de filiation, au point de ne plus paraître faire référence qu’à du texte, qu’il s’agisse d’autres œuvres de l’histoire littéraire, d’..

Vladimir Nabokov : histoire et géographie

Le colloque « Vladimir Nabokov : histoire et géographie », organisé par Yannicke Chupin, Agnès Edel-Roy, Anne-Marie Lafont, Monica Manolescu et Sigolène Vivier, s’est tenu à l’Université de Cergy-Pontoise et à Sorbonne Université du 6 au 8 juin 2019. Pour l’organisation de ce colloque international, la Société française Vladimir Nabokov a reçu le soutien des partenaires suivants : Vladimir Nabokov Literary Foundation, Institut des Amériques, Fondation de l’Université de Cergy-Pontoise, Équipe..

Le Flaubert de Nabokov : Influence, déviation et continuité

International audienceThe notion of influence is a problematic one, that takes on different meanings when used in different contexts. This paper does not aim to establish Flaubert's writing as the main influence, or indeed the driving force, behind Nabokov's work. Not only was Nabokov's work influenced by a certain number of writers just as important as Flaubert, such as Tolstoy or Pushkin, but both Nabokov's and Flaubert' staunch belief in the individuality of the artist makes such a perspective untenable. Flaubert proved this by his lifelong refusal to be associated with any literary movement, Nabokov by his claim that all great contributions to literature came from individual efforts, never collective ones. Andrew Field, in his biography of Nabokov, even wrote that for Nabokov the two words "individual artist" were inseparable (Field, 146). In this case, influence should be seen as a link between the two works, stemming solely from Nabokov's individual interpretation of Flaubert's work. Nabokov, as a reader/writer, formed his own Flaubert as we all do when reading any book. Just as Gérard Genette indicates in his book Palimpsestes, where he stresses the importance of interpretation and the fact that when Proust imitates Flaubert's style in his famous pastiche, it is only a "Flaubert read by Proust". In the same way, Nabokov was not influenced by Flaubert but by a Flaubert read by Nabokov, whose style is made up of those of Flaubert's stylistic idiosyncrasies that were picked up by the reader/writer Nabokov. Therefore, the force of individuality is not to be neglected but should be incorporated into the idea of influence: influence is seen as a movement starting from Nabokov's singular reading of Flaubert's singular invented world, and ending with the effect of this on Nabokov's writing

Nabokov’s Flaubert : interpretation, continuity and originality

« L’influence est une chose sombre et peu claire » disait Vladimir Nabokov en 1930, réfutant avoir été profondément influencé par ses prédécesseurs. Pourtant, comme il le soulignait lui-même, cet auteur russe francophone avait lu les œuvres complètes de Flaubert en français avant l’âge de 14 ans et considérait Madame Bovary comme le roman le plus « brillant de la littérature européenne ». Cette étude se propose d’examiner ce lien à travers une nouvelle définition de l’influence, s’appuyant sur les théories d’Harold Bloom et de Derek Attridge, mais centrée sur l’individualité des auteurs, considérée comme le moteur du processus d’influence, processus caractérisé à la fois par l’exploration des idées du précurseur et la déviation de celles-ci. L’analyse de la conception nabokovienne de l’œuvre de Flaubert permettra de mettre au jour le retentissement qu’a pu avoir cette lecture sur l’œuvre de Nabokov. En effet, si le style de Nabokov est unique et original, son admiration pour le rythme et la sonorité de l’écriture flaubertienne dévoilée dans le cours de Nabokov sur Madame Bovary invite à s’interroger sur la façon dont son interprétation individuelle du style flaubertien se retrouve dans certains aspects de la propre écriture de Nabokov. Également, cet examen parallèle fournira un éclairage nouveau sur les œuvres des deux auteurs, et sur leur vision de la littérature, apparemment lié dans refus de l’incidence sociale et une adhésion à un purisme esthétique complexe, liant la beauté et la vérité. Enfin, cette analyse donnera lieu à une recherche de deux définitions du « style », chez deux auteurs fascinés par l’exactitude et la quête de la précision verbale.« Influence is a dark and unclear thing » Vladimir Nabokov said in 1930, as he denied having been deeply influenced by any past writer. However, and as he declared himself, this French-speaking Russian writer had read the complete works of Flaubert in French before the age of 14 and considered Madame Bovary to be “the most brilliant novel in world literature”. This study plans to examine this link through a new definition of influence, based on the theories of Harold Bloom and Derek Attridge, but focused on the writers’ individuality, which is seen as the core of the influence process, a process characterized both the exploration idea found in the precursor’s work and the deviation of those ideas. The analysis of the Nabokovian conception of Flaubert’s work will be used to bring to light the impact such a reading may have had on Nabokov’s work. Indeed, although Nabokov’s style is unique and original, his admiration for the rhythm and sounds of Flaubert’s writing, described at length in Nabokov’s class on Madame Bovary, suggests an inquiry on the way that his individual interpretation of Flaubert’s style may have reverberations in Nabokov’s own writing. Also, this parallel examination will provide a new study of both authors’ works, and on their vision of literature, apparently linked by a common contradiction between social impact and aesthetic purism. Finally, this analysis will give rise to a search for two definitions of “style”, in two writers fascinated by exactitude and the quest of verbal accuracy

Le Flaubert de Nabokov : interprétation, continuité et originalité

« Influence is a dark and unclear thing » Vladimir Nabokov said in 1930, as he denied having been deeply influenced by any past writer. However, and as he declared himself, this French-speaking Russian writer had read the complete works of Flaubert in French before the age of 14 and considered Madame Bovary to be “the most brilliant novel in world literature”. This study plans to examine this link through a new definition of influence, based on the theories of Harold Bloom and Derek Attridge, but focused on the writers’ individuality, which is seen as the core of the influence process, a process characterized both the exploration idea found in the precursor’s work and the deviation of those ideas. The analysis of the Nabokovian conception of Flaubert’s work will be used to bring to light the impact such a reading may have had on Nabokov’s work. Indeed, although Nabokov’s style is unique and original, his admiration for the rhythm and sounds of Flaubert’s writing, described at length in Nabokov’s class on Madame Bovary, suggests an inquiry on the way that his individual interpretation of Flaubert’s style may have reverberations in Nabokov’s own writing. Also, this parallel examination will provide a new study of both authors’ works, and on their vision of literature, apparently linked by a common contradiction between social impact and aesthetic purism. Finally, this analysis will give rise to a search for two definitions of “style”, in two writers fascinated by exactitude and the quest of verbal accuracy.« L’influence est une chose sombre et peu claire » disait Vladimir Nabokov en 1930, réfutant avoir été profondément influencé par ses prédécesseurs. Pourtant, comme il le soulignait lui-même, cet auteur russe francophone avait lu les œuvres complètes de Flaubert en français avant l’âge de 14 ans et considérait Madame Bovary comme le roman le plus « brillant de la littérature européenne ». Cette étude se propose d’examiner ce lien à travers une nouvelle définition de l’influence, s’appuyant sur les théories d’Harold Bloom et de Derek Attridge, mais centrée sur l’individualité des auteurs, considérée comme le moteur du processus d’influence, processus caractérisé à la fois par l’exploration des idées du précurseur et la déviation de celles-ci. L’analyse de la conception nabokovienne de l’œuvre de Flaubert permettra de mettre au jour le retentissement qu’a pu avoir cette lecture sur l’œuvre de Nabokov. En effet, si le style de Nabokov est unique et original, son admiration pour le rythme et la sonorité de l’écriture flaubertienne dévoilée dans le cours de Nabokov sur Madame Bovary invite à s’interroger sur la façon dont son interprétation individuelle du style flaubertien se retrouve dans certains aspects de la propre écriture de Nabokov. Également, cet examen parallèle fournira un éclairage nouveau sur les œuvres des deux auteurs, et sur leur vision de la littérature, apparemment lié dans refus de l’incidence sociale et une adhésion à un purisme esthétique complexe, liant la beauté et la vérité. Enfin, cette analyse donnera lieu à une recherche de deux définitions du « style », chez deux auteurs fascinés par l’exactitude et la quête de la précision verbale

Le Flaubert de Nabokov : Influence, déviation et continuité

International audienceThe notion of influence is a problematic one, that takes on different meanings when used in different contexts. This paper does not aim to establish Flaubert's writing as the main influence, or indeed the driving force, behind Nabokov's work. Not only was Nabokov's work influenced by a certain number of writers just as important as Flaubert, such as Tolstoy or Pushkin, but both Nabokov's and Flaubert' staunch belief in the individuality of the artist makes such a perspective untenable. Flaubert proved this by his lifelong refusal to be associated with any literary movement, Nabokov by his claim that all great contributions to literature came from individual efforts, never collective ones. Andrew Field, in his biography of Nabokov, even wrote that for Nabokov the two words "individual artist" were inseparable (Field, 146). In this case, influence should be seen as a link between the two works, stemming solely from Nabokov's individual interpretation of Flaubert's work. Nabokov, as a reader/writer, formed his own Flaubert as we all do when reading any book. Just as Gérard Genette indicates in his book Palimpsestes, where he stresses the importance of interpretation and the fact that when Proust imitates Flaubert's style in his famous pastiche, it is only a "Flaubert read by Proust". In the same way, Nabokov was not influenced by Flaubert but by a Flaubert read by Nabokov, whose style is made up of those of Flaubert's stylistic idiosyncrasies that were picked up by the reader/writer Nabokov. Therefore, the force of individuality is not to be neglected but should be incorporated into the idea of influence: influence is seen as a movement starting from Nabokov's singular reading of Flaubert's singular invented world, and ending with the effect of this on Nabokov's writing

Transmission et influence : Gustave Flaubert et Vladimir Nabokov

V. Nabokov, “Lectures on Literature” (Harcourt Brace Jovanovich) | Benoît Roux Lorsque R. Barthes, dans son cours au collège de France en décembre 1978 évoque le vouloir-écrire, par opposition au pouvoir-écrire, il avoue ne pas pouvoir expliquer tout à fait son origine. Pour lui, le vouloir-écrire désigne les futurs auteurs. Ceux qui désirent écrire ont, comme disait Flaubert, « une idée fixe » (Lettre à Gourgaud-Dugazon, Corr. I, 94) mais ne sont pas passés à l’acte. Finalement, Barthes défi..

Le Flaubert de Nabokov

Vladimir Nabokov writing in a notebook on the bed | The LIFE Picture Collection Vladimir Nabokov, lors de son enfance à Saint-Pétersbourg a lu de nombreuses œuvres en russe, en anglaise et en français. Parmi ces ouvrages se trouve l’œuvre complète de Gustave Flaubert, particulièrement Madame Bovary, qu’il déclare avoir lu “une centaine de fois » dans une lettre à sa femme en 1924, c’est-à-dire à l’âge de 24 ans. Cette érudition de l’auteur soulève la question de l’influence, et si j’aichoisi ..

Le Flaubert de Nabokov : Influence, déviation et continuité

International audienceThe notion of influence is a problematic one, that takes on different meanings when used in different contexts. This paper does not aim to establish Flaubert's writing as the main influence, or indeed the driving force, behind Nabokov's work. Not only was Nabokov's work influenced by a certain number of writers just as important as Flaubert, such as Tolstoy or Pushkin, but both Nabokov's and Flaubert' staunch belief in the individuality of the artist makes such a perspective untenable. Flaubert proved this by his lifelong refusal to be associated with any literary movement, Nabokov by his claim that all great contributions to literature came from individual efforts, never collective ones. Andrew Field, in his biography of Nabokov, even wrote that for Nabokov the two words "individual artist" were inseparable (Field, 146). In this case, influence should be seen as a link between the two works, stemming solely from Nabokov's individual interpretation of Flaubert's work. Nabokov, as a reader/writer, formed his own Flaubert as we all do when reading any book. Just as Gérard Genette indicates in his book Palimpsestes, where he stresses the importance of interpretation and the fact that when Proust imitates Flaubert's style in his famous pastiche, it is only a "Flaubert read by Proust". In the same way, Nabokov was not influenced by Flaubert but by a Flaubert read by Nabokov, whose style is made up of those of Flaubert's stylistic idiosyncrasies that were picked up by the reader/writer Nabokov. Therefore, the force of individuality is not to be neglected but should be incorporated into the idea of influence: influence is seen as a movement starting from Nabokov's singular reading of Flaubert's singular invented world, and ending with the effect of this on Nabokov's writing