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Figures II (Points essais)
Les analyses de littérature amorcées dans Figures I se poursuivent ici dans deux directions principales, qui en quelques points se croisent ou se rejoignent : théorie du récit, poétique du langage. Certains de ces carrefours, ou repères, se nomment "Baroque", "Balzac", "Princesse de Clèves", " Stendhal ", "Recherche du temps perdu", d'autres : "espace du texte", "récit et discours", "arbitraire et motivation", "langage indirect". Critique et théories littéraires et leur articulation féconde : irréductibles et complémentaires, à la recherche d'une nouvelle poétique.
320 pages, Paperback
First published January 1, 1969
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About the author
Gérard Genette
67 books60 followersGenette was largely responsible for the reintroduction of a rhetorical vocabulary into literary criticism, for example such terms as trope and metonymy. Additionally his work on narrative, best known in English through the selection Narrative Discourse: An Essay in Method, has been of importance.[2] His major work is the multi-part Figures series, of which Narrative Discourse is a section. His trilogy on textual transcendence, which has also been quite influential, is composed of Introduction à l'architexte (1979), Palimpsests: Literature in the Second Degree (1982), and Paratexts. Thresholds of interpretation (1997).[3]
His international influence is not as great as that of some others identified with structuralism, such as Roland Barthes and Claude Lévi-Strauss; his work is more often included in selections or discussed in secondary works than studied in its own right. Terms and techniques originating in his vocabulary and systems have, however, become widespread, such as the term paratext for prefaces, introductions, illustrations or other material accompanying the text, or hypotext for the sources of the text.
His international influence is not as great as that of some others identified with structuralism, such as Roland Barthes and Claude Lévi-Strauss; his work is more often included in selections or discussed in secondary works than studied in its own right. Terms and techniques originating in his vocabulary and systems have, however, become widespread, such as the term paratext for prefaces, introductions, illustrations or other material accompanying the text, or hypotext for the sources of the text.
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August 18, 2020
Altri saggi letterari del grande Gérard Genette.
L’autore è noto soprattutto per la sua terza raccolta, Figure III, col suo studio sui meccanismi del racconto studiati “in vivo” nell’opera di Proust. Ma qua, se forse manca la sistematicità dell’analisi, abbondano in ogni caso le riflessioni stimolanti. In particolare segnalo Il giorno, la notte, in cui Genette conduce un’«esplorazione, in un certo senso preletteraria, delle risorse, delle occasioni, delle inflessioni, dei limiti, delle costrizioni che le lingue naturali sembrano offrire o imporre allo scrittore e in particolare al poeta che ne fa uso». In concreto: che cosa posso scrivere se, per designare il giorno e la notte, ho a disposizione le parole “jour” e “nuit”?
L’autore è noto soprattutto per la sua terza raccolta, Figure III, col suo studio sui meccanismi del racconto studiati “in vivo” nell’opera di Proust. Ma qua, se forse manca la sistematicità dell’analisi, abbondano in ogni caso le riflessioni stimolanti. In particolare segnalo Il giorno, la notte, in cui Genette conduce un’«esplorazione, in un certo senso preletteraria, delle risorse, delle occasioni, delle inflessioni, dei limiti, delle costrizioni che le lingue naturali sembrano offrire o imporre allo scrittore e in particolare al poeta che ne fa uso». In concreto: che cosa posso scrivere se, per designare il giorno e la notte, ho a disposizione le parole “jour” e “nuit”?
Displaying 1 of 1 review