Versants. Revista suiza de literaturas románicas
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Impasses et imposture de la non-lecture : la preuve par la lecture
Full text linkDans le sillage des nombreuses approches littéraires qui ont cherché à théoriser la lecture, cet article s’interroge sur l’intérêt conceptuel de la notion de non-lecture. À travers une analyse de Comment parler des livres que l’on n’a pas lus ? de Pierre Bayard, il examine les arguments avancés en faveur de la non-lecture et montre que l’élaboration d’une terminologie décrivant certains rapports inconscients à la lecture vise principalement à dédramatiser l’acte de ne pas lire, tout en valorisant une démarche d’exploration de soi. L’article souligne toutefois que la démonstration échoue à instaurer la non-lecture comme véritable pratique en raison de contradictions internes et d’une forme d’imposture inhérente à ses stratégies. Il met également en lumière l’incompatibilité entre les présupposés de la non-lecture et les apports fondamentaux de la lecture, dont le rôle central pour la littérature est ainsi nié.Building on various literary approaches that have sought to theorize reading, this article explores the conceptual relevance of non-reading. Through an analysis of Pierre Bayard’s How to Talk About Books You Haven’t Read?, it examines the arguments put forward in support of non-reading and shows that the elaboration of a vocabulary to describe unconscious relationships to reading primarily aims to destigmatize the act of not reading, while emphasizing a form of self-exploration. However, the article argues that the attempt to establish non-reading as a genuine practice ultimately collapses under its own contradictions and the imposture embedded in its rhetorical strategies. It also highlights the incompatibility between the assumptions of non-reading and the fundamental contributions of reading, whose central role in literature is thereby denied
Da Nozze alte a Le Adelaidi: un armonico concerto di voci
Full text linkIl mio contributo prende avvio da un dato evidente e già appurato, che invita a una lettura de Le Adelaidi (2007) nel segno della pluralità. Ma prende soprattutto avvio dall’idea che la pluralità (come pure la moltiplicazione e la sovrapposizione) sia il risultato di un percorso che a partire da Nozze alte (1981) – passando per Gli stretti congiunti (1982) e Nati complici (1999) – approda appunto all’ennesima potenza e con un’intensità mai toccata prima ne Le Adelaidi.My contribution begins with an obvious and already established fact, which encourages an interpretation of Le Adelaidi (2007) in terms of plurality. More importantly, it stems from the idea that plurality (along with multiplication and overlap) results from a journey that begins with Nozze alte (1981) – passing through Gli stretti congiunti (1982) and Nati complici (1999) – and reaches its most intense expression in Le Adelaidi, where this theme is amplified to an unprecedented degree
La punteggiatura “generosa” di Anna Felder, e il mistero della magnolia di Lugano
Full text linkHo colto l’occasione del gradito invito a partecipare a questa miscellanea in ricordo di Anna Felder per continuare idealmente con lei un discorso che stavamo – io linguista, lei squisita scrittrice attenta al dettaglio stilistico – portando avanti da mesi, e per fare idealmente quella ulteriore telefonata che era prevista e che non ha più potuto esserci. Vorrei mostrare più precisamente qual è l’idea che Anna Felder ha della punteggiatura e andare alla ricerca, percorrendo alcune sue pagine, dei modi in cui l’ha effettivamente realizzata. Per lei, e utilizzando un suo termine, l’interpunzione è un dispositivo “generoso”, che le permette di arricchire e modalizzare il senso fissato dal lessico e dalla sintassi, spezzando tout en finesse le regolarità definite dalla tradizione grammaticale. I welcomed this appreciated invitation to contribute to this miscellany in memory of Anna Felder to ideally continue a dialogue with her that we had been carrying on for months – I as a linguist, she as an exquisite writer attentive to stylistic detail –, and to ideally make that further planned phone call that never actually took place. I would like to show more accurately Anna Felder’s idea of punctuation and look for the ways she actually implemented that by leafing through her pages. To her, punctuation is a “generous” device that allows to enrich and modulate the meanings imposed by lexicon and syntax, thoroughly breaking the rules dictated by grammatical tradition
¿Cómo narrar la violencia en la postdictadura argentina? Desplazamientos en Ese verano a oscuras de Mariana Enriquez
Full text linkEste artículo examina la implementación de la estrategia del «desplazamiento» (Piglia 2009), en el relato Ese verano a oscuras (2019) de Mariana Enriquez. Esta estrategia se opera principalmente por medio del gótico sureño y de la figura del asesino serial estadounidenses, así como a través de ciertas «manchas temáticas» propias de la Nueva Narrativa Argentina (Drucaroff 2011, 2016), corriente literaria a la cual pertenece Enriquez. La combinación de estos elementos permite no solamente narrar de forma oblicua la violencia de la última dictadura militar argentina y sus corolarios en la postdictadura, sino también realizar un comentario metaficcional sobre las generaciones literarias que movilizaron el último medio siglo de la narrativa argentina.This article examines the implementation of the «displacement» strategy (Piglia 2009) in the story Ese verano a oscuras (2019) by Mariana Enriquez. This device is mainly operated through the Southern Gothic and the figure of the American serial killer, and by means of certain «thematic stains» («manchas temáticas») typical of the New Argentine Narrative (Drucaroff 2011, 2016), the literary current to which Enriquez belongs. The combination of these elements allows not only for an oblique account of the violence during Argentina’s last dictatorship and its aftermath, but also for a metafictional commentary on the literary generations that have mobilised the last half-century of Argentine narrative
La méthode « post-possible », ou pour une théorie de la troisième génération
Full text linkLa critique créative ancrée dans la poétique, au sens que ce terme a pris depuis Paul Valéry, peut, à notre sens, être divisée en deux « générations ». La première est celle de Michel Charles et sa théorie des « textes possibles ». La deuxième, représentée notamment par Marc Escola, Sophie Rabau, Yves Citton et Franc Schuerewegen, s’inspire du modèle de Charles et cherche à brouiller davantage les frontières entre critique et création littéraire. Notre objectif est d’introduire un nouveau protocole de lecture, d’ajouter à la liste des méthodes existantes une approche que l’on peut qualifier de « troisième génération ». Nous l’appellerons la méthode « post-possible ». Elle cherche à concilier les pratiques des deux premières générations avec un engagement sociétal.Creative criticism, rooted in poetics as the term has been understood since Paul Valéry, can, in our view, be divided into two “generations.” The first is that of Michel Charles and his theory of “possible texts.” The second—represented by Marc Escola, Sophie Rabau, Yves Citton, and Franc Schuerewegen—draws on Charles’s model while further dissolving the boundaries between criticism and literary creation. Our aim is to introduce a new reading protocol, one that adds to the existing methods an approach we identify as a “third generation.” We call it the post-possible method. It seeks to reconcile the practices of the first two generations with a commitment to social engagement
Sulla verità della letteratura. A proposito del primo romanzo di Anna Felder
Full text linkNel 1970 Anna Felder esordiva con il romanzo Quasi Heimweh, la versione tedesca di Tra dove piove e non piove, pubblicandolo a puntate sulla Neue Zürcher Zeitung. Dato l’argomento – una maestra italiana parla delle sue esperienze con i figli degli immigrati –, i lettori del quotidiano zurighese ne avvertirono immediatamente l’attualità politica, tanto più che la consultazione popolare sul referendum Schwarzenbach era imminente. Noi colleghi della scrittrice, allora insegnanti al liceo di Aarau, credevamo di riconoscerci fra la cerchia degli amici della protagonista, anche se a lettura inoltrata dovemmo renderci conto dell’inadeguatezza di un tale approccio. Infatti, il romanzo di Anna Felder, mescolando finzione e verità storica, non si atteneva al criterio referenziale, ma perseguiva una poetica consistente in una riflessione sui valori etici ed estetici.In 1970, Anna Felder debuted her writing career with the novel Quasi Heimweh, the German version of Tra dove piove e non piove, published periodically in Neue Zürcher Zeitung. Due to its plot – an Italian teacher describes her experiences with the children of immigrants –, the readers of the newspaper noticed its timely coverage of political events: even more so because the public vote on the Schwarzenbach Referendum was imminent. We, colleagues of the author at Aarau College, initially considered ourselves to be among the protagonist’s friends. However, upon closer examination, we acknowledged that this was not an appropriate perspective. Indeed, Felder’s novel, combining fiction and historical truth, was not restricted to the criterion of reference, but should better be seen as pursuing a poetic approach based on a reflection of ethical and aesthetical values. 
Georges Perros, lecteur potentiel de lui-même et de ses correspondants
Full text linkDans l’ensemble du discours épistolaire de Georges Perros, la pratique de la lecture constitue à la fois un fondement structurant et un véritable jeu subversif. En lecteur-critique de lui-même comme de ses correspondants, Perros déploie un style singulier qui interroge le langage, ses limites et ses enjeux dans l’acte de création littéraire. Son écriture explore les potentialités interprétatives infinies qui redéfinissent et remodèlent sans cesse le rapport complexe entre le scripteur-lecteur et le scripteur-lecteur critique.Throughout Georges Perros’s epistolary discourse, the practice of reading serves both as a structuring foundation and as a truly subversive game. Acting as a reader and critic of both himself and his correspondents, Perros deploys a distinctive style that interrogates language, its limits, and its stakes in literary creation. His writing explores the infinite interpretative possibilities that constantly redefine and reshape the complex relationship between writer-reader and writer-reader-as-critic
L’epifania delle Adelaidi complici. Precarietà, musicalità e plurilinguismo in Nati complici (1999) e Le Adelaidi (2007) di Anna Felder
Full text linkIl lavoro di Anna Felder mette in crisi i confini e le categorizzazioni. Le sue opere narrative sono estremamente brevi, i loro plot sono minimi, caratterizzati da opacità e stranezza, nonostante l’apparente quotidianità delle ambientazioni e degli elementi. Il linguaggio di Felder è così musicale da rendere i suoi testi narrativi poesie in prosa, e questa musicalità è ulteriormente esaltata da un multilinguismo che va anche oltre i confini svizzeri. Utilizzando il concetto di epifania, il mio contributo analizza queste strutture nel romanzo Le Adelaidi e nei racconti di Nati complici. Felder emerge così come un’autrice che si colloca originalmente nella modernità letteraria – tra Joyce, Proust, Baudelaire e Montale –, adattando sue tecniche e teoremi in e per un contesto svizzero.The work of Anna Felder challenges boundaries and categorisations. Her fictions are extremely short, their plots are minimal, characterized by opacity and strangeness, despite the apparent everydayness of their settings and elements. Felder’s language is so musical to make her narratives prose poems, and this musicality is further enhanced by a multilingualism that goes even beyond Swiss borders. Using the concept of epiphany as my focus, my contribution analyses these structures in the novel Le Adelaidi and the short stories of Nati complici. Thus, Anna Felder emerges as an author taking an original place in European literary modernity, between Joyce, Proust, Baudelaire and Montale, adapting modernism’s techniques and theorems to a Swiss context
Figures de lecteurs dans tous leurs états : de quelques mises en scène de la lecture dans les littératures francophones
Full text linkCet article propose d’analyser différentes figures de lecteurs qui apparaissent dans cinq romans francophones contemporains: Balzac et la Petite Tailleuse chinoise de Dai Sijie (2000), L’Énigme du retour de Dany Laferrière (2009), L’anglais n’est pas une langue magique de Jacques Poulin (2009), Meursault, contre-enquête de Kamel Daoud (2013) et Encabanée de Gabrielle Filteau-Chiba (2018). La comparaison de ces œuvres permet notamment de mettre en évidence des récurrences dans les images mobilisées pour parler des effets de la lecture sur les corps et les vies des lecteurs.This article analyzes various figures of readers as they appear in five contemporary Francophone novels: Balzac et la Petite Tailleuse chinoise by Dai Sijie (2000), L’Énigme du retour by Dany Laferrière (2009), L’anglais n’est pas une langue magique by Jacques Poulin (2009), Meursault, contre-enquête by Kamel Daoud (2013), and Encabanée by Gabrielle Filteau-Chiba (2018). Comparing these works brings to light recurrent images used to depict the effects of reading on readers’ bodies and lives
Danzare con le parole
Full text linkAnna Felder è stata insignita nel 2018 del massimo riconoscimento letterario della Svizzera, il Grande Premio Svizzero di Letteratura, per l’insieme della sua opera. Pubblichiamo in italiano il testo della laudatio pronunciata da Silvia Ricci Lempen parzialmente in francese alla cerimonia di premiazione, il 12 maggio 2018, nel quadro delle Giornate Letterarie di Soletta.Anna Felder was awarded Switzerland‘s highest literary honor, the Grand Swiss Literature Prize, in 2018 for her complete body of work. We publish in Italian the text of the laudatio delivered by Silvia Ricci Lempen, partially in French, during the award ceremony on May 12, 2018, as part of the Solothurn Literary Days
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