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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 realisme
https://atlante.univ-lille.fr/tag/realisme
frFri, 01 Nov 2019 17:39:00 +0100PluXml16.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-robin09. Écorcher l’absolu. Corps et identité de l’âme dans les nus de Manuel Álvarez Bravo
https://atlante.univ-lille.fr/09-ecorcher-labsolu-corps-et-identite-de-lame-dans-les-nus-de-manuel-alvarez-bravo.html
https://atlante.univ-lille.fr/09-ecorcher-labsolu-corps-et-identite-de-lame-dans-les-nus-de-manuel-alvarez-bravo.html<p>Juan Carlos Baeza Soto<br />Université de Cergy-Pontoise<br />AGORA EA 7392<br />p. 48-79.</p><p> </p>
<p><strong>Juan Carlos BAEZA SOTO, « Écorcher l’absolu. Corps et identité de l’âme dans les nus de Manuel Álvarez Bravo».</strong></p>
<p style="text-align: justify;"><strong>Résumé.</strong> La lumière semble tendre vers la perfection humaine dans les corps nus que Manuel Álvarez Bravo propose dans <em>Miroir noir</em>(1947), <em>Fruit défendu</em> (1976), <em>Xipetotec</em> (1979) ou <em>Sieste dans l’herbe</em> (1979). La lumière victorieuse des ténèbres est en réalité, dans une perspective aztèque du monde, toujours dépendante du combat et de l’accident. C’est pourquoi les nus du photographe mexicain se réclament de l’accident et de l’absence. Le cadrage particulier des nus d’Álvarez Bravo accorde à la lumière une identité qui repose sur la différentiation : sans la rencontre du corps, la lumière ne serait qu’apparence. Les nus de Manuel Álvarez Bravo ouvrent de la sorte « un accès sensible à l’ontologie » (François Jullien) ; ils offrent au regard de la connaissance un corps désireux d’éclaircie.</p>
<p><strong>Mots clés. </strong>Manuel Álvarez Bravo, nu, aztèque, corps, identité, Mexique, réalisme, matières.</p>
<p> </p>
<p><strong>Juan Carlos BAEZA SOTO, “Desollar lo absoluto. Cuerpo e identidad del alma en los desnudos de Manuel Álvarez Bravo”.</strong></p>
<p style="text-align: justify;"><strong>Resumen.</strong> Parece que la luz tiende a la perfección en los cuerpos desnudos que Manuel Álvarez Bravo propone en <em>Espejo Negro</em> (1947), <em>Fruta Prohibida</em> (1976), <em>Xipetotec</em> (1979) o <em>Siesta en la hierba</em> (1979). La luz victoriosa de las tinieblas es en realidad, en una perspectiva azteca del mundo, siempre dependiente del combate y del accidente. Por eso los desnudos del fotógrafo mexicano reivindican el accidente y la ausencia. El peculiar enfoque de los desnudos de Álvarez Bravo le concede a la luz una identidad que se fundamenta en la diferenciación: sin el encuentro de los cuerpos, la luz no sería más que apariencia. Los desnudos de Manuel Álvarez Bravo abren entonces « un acceso sensible a la ontología » (François Jullien) ; le ofrecen a la mirada del conocimiento un cuerpo deseoso de claros y escampadas.</p>
<p><strong>Palabras clave. </strong>Manuel Álvarez Bravo, desnudo, azteca, cuerpo, identidad, México, realismo, materia.</p>
<p> </p>
<p><strong>Juan Carlos BAEZA SOTO, «Laying Bare the Limitless: Body and the Identity of the Soul in Manuel Álvarez Bravo’s Nudes».</strong></p>
<p style="text-align: justify;"><strong>Abstract. </strong>Light seems to strive for human perfection in the nude bodies offered by Manuel Álvarez Bravo in <em>BlackMirror </em>(1947), <em>ForbiddenFruit </em>(1976), <em>Xipetotec </em>(1979),or <em>Siesta in the Grass </em>(1979).The shadow’s triumphant light is in reality, inan Aztec perspective on the world, always dependent on struggle and accident. It is for this reason that this Mexican photographer’s nudes conjure up accidents and absence. The singular framing of Manuel Álvarez Bravo’s nudes gives light an identity that relies on contrast: without coming into contact with the body, light would be without substance. In this way, Manuel Álvarez Bravo’s nudes open up “a discernible way into ontology” (François Jullien); to the eyes of knowledge, they offer up a body in thirst of respite.</p>
<p><strong>Keywords. </strong>Manuel Álvarez Bravo, nude, Aztec, body, identity, Mexico, realism, substance.</p>
<p> </p>
<p><strong><a href="https://atlante.univ-lille.fr/data/images/_articles/ATLANTE_3_4.pdf">Télécharger l'article complet (pdf, 1 Mo)</a></strong></p>Thu, 21 Jun 2018 09:48:00 +0200admin