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Balzac face à Delacroix : le défi de peindre « l’intérieur d’un harem »
Get PDFIn spring 1834, when he started writing The Girl with the Golden Eyes, Honoré de Balzac was imbued with by Eugène Delacroix’s work and figure. Both shared an attraction towards the Orient which betrayed their tendency to romanticism. In 1834, the exhibition of the painting The women of Algiers in their Apartment encouraged a new impetus of the novelist’s oriental genius. From 1830, Balzac started to fulfill a dream: competing with Delacroix’s art by portraying the inside of a harem in the short story The Girl with the Golden Eyes, which he dedicated to the romantic painter. The hero, Henri de Marsay, conquers Paquita Valdès who is locked up in a luxurious Parisian hotel by her protector and lover, the Marquise of San Real. Paquita Valdès’s fatal passion for the Count unfolds against the backdrop of an oriental-like boudoir where Delacroix’s cherished colours prevail: yellow and red. This duo of colours, which sustains the unity of the twofold short story, prompted the following comment by Albert Béguin, a literary critic: “Balzac took up the challenge of competing with visual arts and expressing through linguistic means what painters usually say through the play with colours.” Hence the problematic question which motivates our study: How does Honoré de Balzac reproduce the romantic painter’s shape and colour language? We will first examine how the inordinate ambition to see everything and to have everything seen is expressed through Balzac’s art of composition, which he borrowed from Delacroix. The consecutive analyses of open and enclosed spaces will highlight Balzac’s treasured aesthetic law: the law of contrasts. The article will then show the aesthetic impact of the bodies and their stances upon the reader-viewer. Finally, the last part will focus on the suggestive potential of colour and motions in The Girl with the Golden Eyes
La Caricature littéraire : L’Éducation sentimentale de Flaubert
Get PDFIn the fictional universe of L’Éducation sentimentale, caricature is practiced in several ways by some characters who design caricatural portraits, play the role of famous caricatural characters and perform literary caricature in their press releases. Present and produced in the fictional universe, Flaubert also integrates it in the narration. He builds a literary caricature on the basis of graphical caricature. Based on the principle of distance, he highlights the gap between the pretensions of the characters and the paltry result of their efforts. He restores the device of the framework of lithography, in which the figures move like puppets, on the model of ball scenes by Gavarni. He then adds a caption that emphasises their comical scope. Finally, he skillfully practices caricatural portrait on the model of Daumier through the accentuation and reduction of traits. Characters and narrator thus fashion and allow a satirical view of society through the use of caricature. However, Flaubert’s "romanesque" poetics aims not to conclude. As such, the sharp judgment specific to caricature is not satisfactory to him. The author will redirect the intention in the wake of Daumier in order to mitigate its satirical scope and develop its ludic aspect. He will thereby superimpose the different voices of the characters to preserve the narrative’s polyphony. Flaubert as well as Daumier take some distance in order to avoid any definitive moral conclusion
« Elle peint comme elle chante... »
Get PDFThe large part of Marie Krysinska’s poetry is pictorial in the intrinsic way. The range of the references to painting, both explicit and implicit, is not less significant than the musical references. Being a musician, Krysinska is as well sensitive to the colours and lines, she makes one hear and see her poetic images. This ability lets her create “images en l’air” whose pictorial intensity is varying, from the impression to the ekphrasis. Through different painting references Krysinska reveals her rooting in the culture, enters into the continuum of aesthetic reflection, involves herself in a dialogue between arts – which incessantly lasts throughout the ages – on the synchronic and diachronic level. Consciousness which diffuses through the poetic-pictorial work of art is consequently complex and heterogenic, both individual and collective. Pictoriality becomes a code, cultural and emotional, which reinforces the work of imagination and lets one feel a twofold aesthetic satisfaction
La lettre et la figure dans Calligrammes de Guillaume Apollinaire
Get PDFThis article is devoted to Guillaume Apollinaire original poetic experience’s who tried to found a synthetic art combining heterogeneous semiotic systems such as painting and poetry. We propose, then, to study the various complementary relationship, polysemy or counterpoint established between the letters, poetic text and pictorial images
Techniques reproductibles et artistiques dans L’Œuvre au Noir de Marguerite Yourcenar : transposition et référence communicative
Get PDFMarguerite Yourcenar’s novel The Work in Black provides descriptions of artwork. Fingerprints artistic figurations in his novel become both a text and materiality of Intermediality Ut Pictura poesis. How is formed the symbiosis of the diegesis and Ekhprasis in the novel by Marguerite Yourcenar? Mannerist processes allow the author to play on two different display modes: the text and the image called by the text. How is this transposition within the Work in Black, a novel supposed to represent social circles of the Renaissance by taking the idea to Breughel and simultaneously echo the turpitude where there the contemporary world. Communication between the image and the text does not only nesting but also a representation that is created as a space, an "inner distance" in the words of Georges Poulet, which makes the work a bet abyss in the search for the essence the art work, the philosopher's stone which is the original experience of vision. The curveball opens an "inner space" as Claude Edmonde Magny analysis allowing the novel to open and expand this optical illusion, create connections, secret architectures. We will try to develop these problems merging form of osmosis The work at Black Yourcenar, at the intersection of disciplines and critical approaches that think the work of art in its many meanings and semiotic richness
L’image de la mort ou l’histoire d’une sensibilité. Charlotte de David Foenkinos
Get PDFThe aim of the article is to examine the figure of an artist in the novel Charlotte by David Foenkinos. With his text, he desires to pay homage to Charlotte Salomon, a Jewish painter murdered at age twenty-six in Auschwitz. The Salomon’s biography and works became famous thanks to the novel by Foenkinos. The great merit of his book is to make the painter recognizable to a wide public. The interpretation of the text in which central figure is a painter should include a question about the generic status of the novel, thus the reflection about the Künstlerroman, and about the status of the image in the text, the narrative processes used to make the text more plastic, the ekphrasis, etc. The problem seems interesting because Charlotte does not correspond with the traditional definition of the Künstlerroman. The narrator refers the reader to the extradégétique reality in order to make a connection between the reader and Charlotte’s painting; therefore, he focuses his story on the conception of the image and not on the image itself
Du souvenir à l’image : enjeux narratifs dans L’Amant
Get PDFIn Marguerite Duras’ works the boundaries between text and image become fluid. This is particularly evident in The Lover, where descriptions of events and characters resemble yellowed photographs, constantly evoking images. The author strives to recreate faithfully certain past incidents, particularly from childhood and youth, such as meeting a Chinese millionaire, which was of paramount importance in her life. However, she is inconsistent in this and does not always follow typical rules of writing a semi-autobiographical work. She attempts to reconstruct the story of her life, emphasising the image in text and its perception by the character and the reader. Breaking of the "autobiographical pact" by blending fact and fiction, truth and falsehood implies a novel narrative technique, visible e.g. in the characteristic duality of the narrator, who is also the protagonist, present in the first and third person, either the subject or an object. This is an intriguing vision of reality, understood as an image locked in memories, created with original narrative solutions, where the reader becomes a spectator
La Figure de l’enfant viator chez Le Clézio, un nouveau type de pícaro
Get PDFThe first short story in the volume Mondo and Other Stories serves as a model for the other stories in the collection in terms of the themes, the representation of the child’s portrait and the stylistic peculiarities of the text. More exactly, the story describes the world of “children seen as kings” (Brée, 1990: 100) where everything is dominated by goodness, purity, beauty and magic. As the reference to Sinbad the Sailor at the beginning of the book suggests, the story depicts a moving journey in pursuit of a dream. This is the journey of a child who, refusing the adult world from which he feels alienated, is in search of himself and the unknown. As an image of the viator child, can we consider Mondo a new type of vagabond? Why is he emblematic of the author’s fictional universe and of universal literature? By answering these questions, the purpose of the paper is to demonstrate the originality and uniqueness of Le Clézio’s writing.The first short story in the volume Mondo and Other Stories serves as a model for the other stories in the collection in terms of the themes, the representation of the child’s portrait and the stylistic peculiarities of the text. More exactly, the story describes the world of “children seen as kings” (Brée, 1990: 100) where everything is dominated by goodness, purity, beauty and magic. As the reference to Sinbad the Sailor at the beginning of the book suggests, the story depicts a moving journey in pursuit of a dream. This is the journey of a child who, refusing the adult world from which he feels alienated, is in search of himself and the unknown. As an image of the viator child, can we consider Mondo a new type of vagabond? Why is he emblematic of the author’s fictional universe and of universal literature? By answering these questions, the purpose of the paper is to demonstrate the originality and uniqueness of Le Clézio’s writing
Le vagabondage moderne dans le théâtre de Henri-René Lenormand
Get PDFThe motif of the wanderer is not new in the French theatre, but in the first half of the twentieth century due to the general crisis of values, some authors refer to it in order to display the plight of modern man. One of them is H.-R. Lenormand, an author not very well-known to a wider audience nowadays, who under the influence of Strindberg writes plays which refer to the expressionist aesthetics. He creates a lot of works in which he employs the technique of the station drama.. It is this form that allows him to focus on the evolution of the character and his metamorphosis. While in Les Ratés he shows buffoons heading for the brink of despair and finally their certain death, in L'Homme et ses Fantômes he focuses on the inner journey of the main character, who is looking for the reason for his suffering in his own soul.The motif of the wanderer is not new in the French theatre, but in the first half of the twentieth century due to the general crisis of values, some authors refer to it in order to display the plight of modern man. One of them is H.-R. Lenormand, an author not very well-known to a wider audience nowadays, who under the influence of Strindberg writes plays which refer to the expressionist aesthetics. He creates a lot of works in which he employs the technique of the station drama.. It is this form that allows him to focus on the evolution of the character and his metamorphosis. While in Les Ratés he shows buffoons heading for the brink of despair and finally their certain death, in L'Homme et ses Fantômes he focuses on the inner journey of the main character, who is looking for the reason for his suffering in his own soul