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Warning: Cannot modify header information - headers already sent by (output started at /var/www/html/core/lib/class.plx.motor.php:349) in /var/www/html/core/lib/class.plx.feed.php on line 266 Atlante - Revue d'études romanes - Tag non-fiction
https://atlante.univ-lille.fr/tag/non-fiction
frFri, 01 Nov 2019 17:48:00 +0100PluXml17.<em>Un viaggio che non promettiamo breve</em> di Wu Ming 1: la letteratura come strumento per riconoscere una storia
https://atlante.univ-lille.fr/17-emun-viaggio-che-non-promettiamo-breve-em-di-wu-ming-1-la-letteratura-come-strumento-per-riconoscere-una-storia.html
https://atlante.univ-lille.fr/17-emun-viaggio-che-non-promettiamo-breve-em-di-wu-ming-1-la-letteratura-come-strumento-per-riconoscere-una-storia.html<p style="text-align: justify;">Gerardo Iandoli<br />Université Aix-Marseille<br />CAER EA 854<br />p.300-316.</p><p><strong>Gerardo IANDOLI,</strong><strong><em>Un viaggio che non promettiamo breve</em></strong><strong> di Wu Ming 1: la letteratura come strumento per riconoscere una storia.</strong></p>
<p style="text-align: justify;"><strong>Riassunto. </strong>L’articolo analizza <em>Un viaggio che non promettiamo breve</em> di Wu Ming 1, testo che ricostruisce la storia di venticinque anni di lotte No Tav, il movimento contrario alla costruzione della tratta ferroviaria ad alta velocità Lione-Torino. L’obiettivo dell’articolo è di mostrare come gli strumenti della scrittura romanzesca, quando si fondono con quelli della scrittura storica, permettano di ri-conoscere una storia, nel senso di conoscerla di nuovo. Infatti, il testo tenta di sfatare alcuni luoghi comuni sorti intorno al movimento, nella speranza di promuovere i lati positivi di tale esperienza. Inoltre, il riconoscere è anche un tema affrontato dal testo, tema che si declina in varie forme: come scoperta (riconoscere un valore a qualcosa), come consapevolezza di sé (riconoscersi), come sviluppo di un processo identitario (riconoscersi in quanto comunità), come lotta per farsi riconoscere (rivendicare la propria esistenza di fronte al potere). Infine, il testo, attraverso immagini allegoriche, cerca di mostrare le criticità del sistema di potere dominante e di proporre nuove figure del vivere politico.</p>
<p><strong>Parole chiave. </strong>Wu Ming 1, <em>Un viaggio che non promettiamo breve</em>, No Tav, riconoscimento, non fiction</p>
<p> </p>
<p><strong>Gerardo IANDOLI,</strong><strong><em>Un viaggio che non promettiamo breve</em></strong><strong> de Wu Ming 1 : la littérature comme instrument pour reconnaître une histoire.</strong></p>
<p style="text-align: justify;"><strong>Résumé. </strong>L’article analyse <em>Un viaggio che non promettiamo breve</em> de Wu Ming 1, texte qui reconstruit l’histoire de vingt-cinq ans de luttes du mouvement No Tav, contre la construction de la ligne à grande vitesse Lyon-Turin. Le but est de montrer comment la fusion entre deux approches stylistiques, romanesque et historique, permet d'envisager l'histoire sous un angle nouveau et de la re-connaître (connaître à nouveau). En effet, l’œuvre de Wu Ming 1 essaie de démystifier certains lieux communs nés autour du mouvement, pour mettre en lumière les éléments positifs de cette expérience. En outre, la reconnaissance est aussi une thématique abordée dans le livre, thématique qui se trouve sous différentes formes : comme découverte (reconnaître une valeur à quelque chose), comme conscience de soi (se reconnaître), comme développement du processus d’identité (se reconnaître comme faisant partie d’une communauté), comme lutte pour la reconnaissance (revendiquer sa propre existence en face du pouvoir). Le texte, par le biais d’images allégoriques, essaie enfin de montrer les problèmes du système de pouvoir dominant et de proposer de nouvelles figures de la vie politique.</p>
<p><strong>Mots clés</strong>. Wu Ming 1, <em>Un viaggio che non promettiamo breve</em>, No Tav, reconnaissance, non fiction</p>
<p> </p>
<p style="text-align: justify;"><strong>Gerardo IANDOLI,</strong><strong>Wu Ming 1’s <em>A voyage that we don’t promise will be short</em>: literature as an instrument to recognize a story.</strong></p>
<p style="text-align: justify;"><strong>Abstract. </strong>The article analyses <em>Un viaggio che non promettiamo breve</em> by Wu Ming 1. This text speaks about the twenty-five years protest by No Tav movement, composed by the people opposed to construction of Lyon-Turin high speed railway. This book combines fictional write with historical one, so the purpose of this article is to show how this union can help to recognize an history, in the meaning of knowing it for the second time. In fact, the text tries to demystify some commonplaces borned around the movement, in order to explain the positive sides of it. Furthermore, the act of recognize is also a theme of this book and it is present in various forms: such as discovery (to recognize a value to something), such as self-awareness (to recognize oneself), such as development of identity process (to recognize oneself as a community), such as struggle of recognition (to claim its existence in front of the power). Finally, this book use allegory to show the weak points of power and to show new forms of politic life.</p>
<p><strong>Key words. </strong>Wu Ming 1, <em>Un viaggio che non promettiamo breve</em>, No Tav, recognition, non fiction</p>
<p><a href="https://atlante.univ-lille.fr/data/images/atlante-10-2/300-316-g.-iandoli.pdf">Télécharger l'article complet (Pdf, 237 Kb)</a></p>
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<p> </p>Fri, 01 Nov 2019 17:48:00 +0100marianne.bloch-robin16.Histoire, littérature, fiction : à partir du cas Saviano
https://atlante.univ-lille.fr/16-histoire-litterature-fiction-a-partir-du-cas-saviano.html
https://atlante.univ-lille.fr/16-histoire-litterature-fiction-a-partir-du-cas-saviano.html<p>Étienne Boillet<br />Université de Poitiers<br />FoReLLIS EA 3816<br />p.279-299.</p><p><strong>Etienne BOILLET, Histoire, littérature, fiction : à partir du cas Saviano.</strong></p>
<p style="text-align: justify;"><strong>Résumé. </strong>Certaines des idées exprimées par Manzoni, à propos des rapports entre l’histoire et le roman, peuvent trouver un écho chez des théoriciens de la fiction tels que Genette. C’est à partir de ce possible dialogue que nous abordons <em>Gomorra</em> de R. Saviano. L’auteur présente son livre comme une œuvre de non-fiction, genre dont il fait l’éloge en dénonçant l’ostracisme qu’aurait subi un roman comme <em>De sang-froid</em> de T. Capote (1966) et en se félicitant de la reconnaissance récente dont témoigne le prix Nobel 2015 attribué à S. Alexievicth. Mais ce discours tend aussi à effacer la frontière entre les récits strictement non fictionnels et les enquêtes romancées par l’ajout d’éléments inventés : il semblerait même que, pour l’auteur napolitain, ce soit justement cette part de fiction qui permette à l’enquête historique ou journalistique d’accéder à la littérarité et à une forme supérieure de vérité. C’est là un positionnement qu’on retrouve dans la critique, auprès de chercheurs qui, subordonnant en outre la question de la distinction entre fiction et non-fiction à l’enjeu de la modernité, voient dans <em>Gomorra</em> l’expression emblématique d’un nouveau réalisme, avec lequel se tournerait enfin la page de la postmodernité. Nous examinons ici quelques aspects notionnels relatifs à ces questions, dans le cadre d’une interrogation plus large sur la frontière entre fiction et non-fiction.</p>
<p><strong>Mots clés. </strong>Fiction, non-fiction, histoire, réalisme, Saviano, critique</p>
<p> </p>
<p><strong>Etienne BOILLET, Storia, letteratura, finzione : a partire dal caso Saviano.</strong></p>
<p style="text-align: justify;"><strong>Riassunto.</strong> Alcune idee di Manzoni sui rapporti tra la storia e il romanzo possono trovare un’eco nelle riflessioni di teorici della finzione come Genette. Alla luce di tale possibile dialogo, ci interessiamo a <em>Gomorra</em> di Roberto Saviano. L’autore presenta il proprio libro come un’opera di non-fiction, un genere di cui intesse le lodi denunciando l’ostracismo subìto da un romanzo come <em>A sangue freddo</em> di T. Capote (1966) e rallegrandosi per il recente riconoscimento simboleggiato dal Nobel 2015 attribuito a S. Aleksievich. Ma tale discorso tende anche a cancellare la differenza tra i racconti rigorosamente non finzionali e quelli finzionalizzati dall’inserimento di elementi inventati. Anzi, per lo scrittore napoletano, sembra che proprio tale componente finzionale permetta di conferire all’inchiesta storica o giornalistica una valenza letteraria, facendola accedere ad una forma superiore di verità. Nella critica si ritrova lo stesso posizionamento, attraverso studi in cui la distinzione tra fiction e non-fiction viene subordinata alla questione della modernità per individuare in <em>Gomorra</em> il simbolo di un nuovo realismo con il quale si chiude il periodo postmoderno. Esaminiamo alcuni aspetti nozionali legati a queste problematiche, nell’ambito di una interrogazione più ampia sullo spartiacque tra fiction e non-fiction.</p>
<p><strong>Parole chiave. </strong>Finzione, non-fiction, storia, realismo, Saviano, critica</p>
<p> </p>
<p><strong>Etienne BOILLET, History, literature, fiction: as from the case Saviano.</strong></p>
<p style="text-align: justify;"><strong>Abstract. </strong>Some ideas expressed by Manzoni upon the relations between novel and history are echoed in modern specialists of fiction theory as Genette. We approach Saviano’s <em>Gomorra</em> (2006) through this possible dialogue. Saviano presents his book as a work of non-fiction, a genre that he praises denunciating the ostracism suffered by a book like T. Capote’s <em>On</em> <em>cold</em> <em>blood</em> (1966) and welcoming the recent recognition illustrated by the Nobel given to S. Alexievitch in 2015. However, this discourse tends to blur the line between the non-fiction and the fiction: it seems that for the Neapolitan writer, this is precisely this fictional part within the historical or journalistic investigation which allows it to get to a literary status and to a superior form of truth. We encounter this kind of position among literary critics, particularly in studies which subordinate the differentiation between fiction and non-fiction to the question of modernity and which see in <em>Gomorra</em> the symbol of a new realism that would finally put an end to the postmodern literature. In this paper we consider some notional aspects related to these issues as part of a wider inquiry about the differentiation between fiction and non-fiction.</p>
<p><strong>Keywords. </strong>Fiction, non-fiction, history, realism, Saviano, critics</p>
<p><a href="https://atlante.univ-lille.fr/data/images/atlante-10-2/279-299-e-.-boillet.pdf">Télécharger l'article complet (Pdf, 239 Kb)</a></p>
<p> </p>Fri, 01 Nov 2019 17:39:00 +0100marianne.bloch-robin15.Le roman de l’Histoire en Italie : entre postmodernisme et retour au réel
https://atlante.univ-lille.fr/15-le-roman-de-lhistoire-en-italie-entre-postmodernisme-et-retour-au-reel.html
https://atlante.univ-lille.fr/15-le-roman-de-lhistoire-en-italie-entre-postmodernisme-et-retour-au-reel.html<p>Giacomo Raccis<br />Université de Bergame<br />p.264-278.</p><p><strong>Giacomo RACCIS, Le roman de l’Histoire en Italie : entre postmodernisme et retour au réel.</strong></p>
<p style="text-align: justify;"><strong>Résumé. </strong>Dès le début du XXI<sup>e</sup> siècle, en Italie, le roman a trouvé deux différentes modalités de narration de l’Histoire. D’un côté, l’on trouve une production (Luther Blissett-WuMing, Scurati) qui renouvelle la forme du roman historique postmoderne (Eco). Ces romans présentent des intrigues complexes mais harmoniquement conclues et qui ont souvent la forme d’un complot censé saboter la capacité d’<em>agency</em> des protagonistes. De cette façon, ils donnent une réponse réconfortante à la demande de sens du lecteur occidental, qui se perçoit aliéné par rapport au cours de l’histoire et de la réalité. De l’autre côté, on retrouve la dimension de métafictionnalité que Linda Hutcheon considérait nécessaire pour une interrogation de l’Histoire dans une forme de narration hybride, au croisement de la recherche historique, de la réécriture et de l’autobiographie. Dans les romans de Filippo Tuena, Helena Janeczek ou Davide Orecchio, l’auteur est impliqué personnellement dans une recherche qui éclaircit des portions limitées de l’Histoire afin de donner une réponse à un trauma individuel. Traversées par un élan vers la vérité qui s’éloigne de l’ambiguïté du postmoderne, ces narrations, même dans la partialité des fresques qu’elles dressent, remettent au centre de la réflexion littéraire le lien entre les histoires individuelles et les « destins généraux ».</p>
<p><strong>Mots clés. </strong>Roman historique, postmodernisme, Wu Ming, Antonio Scurati, non fiction</p>
<p> </p>
<p><strong>Giacomo RACCIS, Il romanzo della Storia in Italia: tra postmodernismo e ritorno al reale.</strong></p>
<p style="text-align: justify;"><strong>Riassunto.</strong> All’inizio del XXI secolo, in Italia, il romanzo ha trovato due modi diversi di raccontare la Storia. Da una parte, si nota una produzione (Luther Blissett-WuMing, Scurati) che rinnova la forma del romanzo storico postmoderno (Eco). Questi romanzi presentano intrighi complicati ma armoniosamente conclusi e che spesso hanno la forma di un complotto che dovrebbe sabotare la capacità di <em>agency</em> dei protagonisti. In questo modo danno una risposta confortante alla richiesta di senso del lettore occidentale, che si percepisce alienato in relazione al corso della storia e della realtà. Dall’altra parte, è ritrovata la dimensione di metafinzionalità che Linda Hutcheon considerava necessaria a un’interrogazione della Storia, tramite una forma di narrazione ibrida, tra ricerca storica, riscrittura e autobiografia. Nei romanzi di Filippo Tuena, Helena Janeczek o Davide Orecchio, l’autore è coinvolto personalmente in una ricerca che illumina porzioni limitate della Storia, per rispondere a un trauma personale. Percorse da uno slancio verslo la verità, che si allontana dall’ambiguità del postmoderno, queste narrazioni, pur nella parzialità dei loro affreschi, ripongono al centro della riflessione letteraria il legame tra le storie individuali e i «destini generali».</p>
<p><strong>Parole chiave. </strong>Romanzo storico, postmodernismo, Wu Ming, Antonio Scurati, non fiction</p>
<p> </p>
<p><strong>Giacomo RACCIS, The historical novel in Italy: between postmodernism and return to reality.</strong></p>
<p style="text-align: justify;"><strong>Abstract. </strong>Since the beginning of the 21st century, in Italy, the novel has found two different ways of narrating history. On the one hand, there is a production (Luther Blissett-WuMing, Scurati) that renews the form of the postmodern historical novel (Eco). These novels present intricate plots that are harmoniously concluded and are often centred around a plot to sabotage the protagonists’ capacity of <em>agency</em>. In this way, they give a comforting answer to the Western reader's need for meaning, feeling alienated from the course of history and reality. On the other hand, we find the dimension of metafiction that Linda Hutcheon considered necessary for an interrogation of History in a form of hybrid narrative, at the crossroads of historical research, rewriting and autobiography. In Filippo Tuena, Helena Janeczek or Davide Orecchio’s novels, the author is personally involved in research that clarifies the limits of History in response to an individual trauma. Traversed by an impulse towards the truth, which distances itself from the ambiguity of the postmodern, these narratives, even in the partiality of the frescoes they draw up, place the link between individual stories and the "general destinies" at the heart of literary reflection.</p>
<p><strong>Keywords. </strong>Historical novel, postmodernism, Wu Ming, Antonio Scurati, non fiction</p>
<p><a href="https://atlante.univ-lille.fr/data/images/atlante-10-2/264-278-g.-raccis.pdf">Télécharger l'article complet (Pdf, 144 Kb)</a></p>Fri, 01 Nov 2019 17:35:00 +0100marianne.bloch-robin