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Du théâtre au récit de soi dans le roman-mémoires du XVIIIe siècle
Series: - Faux Titre Online, Volume: 409
- Faux Titre, Volume: 409
Author:
Tout semble opposer le théâtre au récit de soi. Le premier se rattache aux arts du spectacle, tandis que le second relève de l’intime. Genre littéraire emblématique du XVIIIe siècle, le roman-mémoires invite à dépasser cette opposition. S’il place l’expérience vécue au cœur de son écriture, il s’approprie également le langage de la scène comique ou tragique au profit d’une fiction de l’intériorité. Ce livre montre ce que le roman-mémoires doit au théâtre, en étudiant comment son écriture s’élabore à partir de différents emprunts et procédés caractéristiques de la scène. En s’inventant au sein d’une culture dominée par le goût du spectacle, ce genre lègue ainsi à la littérature à venir les éléments constitutifs d’un langage de l’intime.
Theatre and fictional memoir are supposedly opposites: the former has to do with the performing arts, while the latter focuses on the intimate side of life. A literary genre emblematic of the eighteenth century, fictional memoir invites readers to move beyond this assumption. Although lived experience is at the heart of the memoir, such fiction also appropriates the language of comedy or tragedy for the benefit of a novel of interiority. This book highlights fictional memoir’s debt to the theatre, while examining how its writing developed based on various borrowings and processes characteristic of the stage. By self-inventing within a culture dominated by enthusiasm for stage performance, this genre thereby endowed future literature with the constitutive elements of a language of the intimate.
Theatre and fictional memoir are supposedly opposites: the former has to do with the performing arts, while the latter focuses on the intimate side of life. A literary genre emblematic of the eighteenth century, fictional memoir invites readers to move beyond this assumption. Although lived experience is at the heart of the memoir, such fiction also appropriates the language of comedy or tragedy for the benefit of a novel of interiority. This book highlights fictional memoir’s debt to the theatre, while examining how its writing developed based on various borrowings and processes characteristic of the stage. By self-inventing within a culture dominated by enthusiasm for stage performance, this genre thereby endowed future literature with the constitutive elements of a language of the intimate.
Docteure ès lettres et spécialiste de la littérature française du XVIIIe siècle, Charlène Deharbe a publié, à la Société des Textes Français Modernes, la première édition critique de Dolbreuse (1783) de Loaisel de Tréogate.
Doctor in French literature, Charlène Deharbe made, for the Société des Textes Français Modernes (Paris), the first critical edition of Dolbreuse (1783), a novel written by Loaisel de Tréogate.
Doctor in French literature, Charlène Deharbe made, for the Société des Textes Français Modernes (Paris), the first critical edition of Dolbreuse (1783), a novel written by Loaisel de Tréogate.
This book is intended for an audience interested in the history of fiction and fictional memoir as well as the hybridity of genres and the relationship between fiction and drama.
Ce livre s’adresse à un public qu’intéressent autant l’histoire du roman et du récit de soi, que la question de l’hybridation des genres et des rapports entre roman et théâtre.
Ce livre s’adresse à un public qu’intéressent autant l’histoire du roman et du récit de soi, que la question de l’hybridation des genres et des rapports entre roman et théâtre.