36 research outputs found
Le traité de météorologie de M. Angot
No full textDe Martonne Emmanuel. Le traité de météorologie de M. Angot. In: Annales de Géographie, t. 9, n°43, 1900. pp. 72-75
Autofiction on demand: genealogy of a novel based on personal documents and its impact on the reader in Sujet Angot
No full textQuando Christine Angot publicou Sujet Angot (1998), crítica e academia concluíram que a obra, rotulada como autoficção, era baseada numa carta do ex-marido da autora, o homônimo Claude. A partir da comparação da carta, presente no Fonds Christine Angot do IMEC, França (que de fato organiza a estrutura do romance, com dezenas de excertos transpostos) com outros textos - cadernos e notas fruto de entrevistas da autora com Claude - conclui-se que o romance não só é fiel a tais documentos pré-existentes externos à obra, o que vai ao encontro da defesa de uma literatura pura atrelada ao real que efetua Angot em outros discursos analisados (artigos, entrevistas, romances, processos na justiça), como que é ao reorganizar frases extraídas de vários textos produzidos por Claude - ou seja, pelo tratamento formal dos discursos de verdade -, que Angot recria a voz do protagonista. Desse retrabalho, surge uma enunciação de tipo confessional, percebida na recepção como sendo uma única e autêntica missiva em forma de diário. Método, prática, escritura e defesa da escrita encontram abrigo na análise do percurso genético do processo criativo. When Christine Angot published Sujet Angot in 1998, critics in the press and academics alike agreed the novel was based on a real love letter from the author\u27s ex-husband Claude. This article compares the original letter, deposed within the Fonds Christine Angot at IMEC, France, to a notebook filled with notes taken from interviews between the author and Claude and other documents. From the comparative analysis, it can be said the novel not only respects the original texts: Angot reorganize the excerpts to recreate a voice, an enunciation, but not really creating new contents not already present in the documents. This process confirms the theoretical assumptions made by the author on her literature in other media. Thus, the book is perceived by the reader as a unique and authentic letter (if not from a diary) from beginning to end. Thus, method, practice, theory and the final writing all can be seen as a coherent ensemble through the genetic analysis of the creative process.
Christine Angot: le desir d’indigner le lecteur : La société violée par l'(auto)fiction
No full textChristine Angot, “reine de l’autofiction”, met sur la page ses pensées les plus intimes, les expériences extrêmes de son double de papier, à travers une écriture ambiguë qui se contredit et s'annule. En se déclarant homosexuelle et puis homophobe, elle a des propos offensifs, qui font de son écriture un geste d’irrévérence sociale. Le lecteur est ainsi obligé de se poser des questions, sur la notion de “politiquement correct”, sur la société et ses tabous. Nous montrerons que la volonté de provoquer, afin de déclencher une réponse, peut être considérée comme une sorte d’“engagement” post- moderne. Le lectorat, indigné, est obligé de réfléchir sur ses préjugés et de les combattre, même si cela comporte pour l’auteur le risque d’un rejet définitif.Christine Angot, “queen of autofiction”, writes down her most intimate thoughts. Her writing has always been characterised by the ambiguity of its context, renowned for an abundance of contradictions. By declaring herself homosexual and homophobe, her injurious confessions made her writing an example of social irreverence. The reader is obliged to think again and reflect on what society and its restraints consider to be “politically correct”. We will show how her will to shock in order to have a reaction could be considered a kind of post-modernism “engagement” of the writer. The reader is obliged to think about his own prejudices and to fight them, even if there is for the author the risk of a definitive reject
De l’utilité des théories linguistiques et littéraires lors d’un procès d’écrivain : L’exemple du procès intenté à la romancière française Christine Angot
No full textChristine Angot claims the right to feed her novelistic universe mainly with facts from her real life. This radicalism earned her a conviction in court, on May 27, 2013, for violation of private life in the novel Les petits. She was convicted for turning a real recognizable person of her entourage, into an unflattering novel character. The Parisian Court found that Les petits, could not be described as a "novel", despite the assertions of the author and her publisher, and despite the fact that it is presented to the public with the qualification “novel” in the paratext. This position seems extreme in so far as the magistrates choose to ignore the notion of genre, a notion still fundamental today. One can, as a matter of fact, argue that the genre should be considered constitutive of the meaning, and accept that the interpretation depends on the genre, that it is genre-bound. To that extent, to simply discard the notion of genre seems unacceptable. To counter the reasoning of the Court, Angot develops a certain number of arguments that will be addressed using the theories of Genette, Searle and Cohn. We will come to the conclusion that by taking into account literary and linguistic theories, and therefore the manner in which an eventual breach in privacy occurred, the Court could have made a fairer and more readily accepted decision, or at least one more in accordance with the rule of proportionality expected in every democracy.
 
De l’utilité des théories linguistiques et littéraires lors d’un procès d’écrivain : L’exemple du procès intenté à la romancière française Christine Angot
No full textChristine Angot claims the right to feed her novelistic universe mainly with facts from her real life. This radicalism earned her a conviction in court, on May 27, 2013, for violation of private life in the novel Les petits. She was convicted for turning a real recognizable person of her entourage, into an unflattering novel character. The Parisian Court found that Les petits, could not be described as a "novel", despite the assertions of the author and her publisher, and despite the fact that it is presented to the public with the qualification “novel” in the paratext. This position seems extreme in so far as the magistrates choose to ignore the notion of genre, a notion still fundamental today. One can, as a matter of fact, argue that the genre should be considered constitutive of the meaning, and accept that the interpretation depends on the genre, that it is genre-bound. To that extent, to simply discard the notion of genre seems unacceptable. To counter the reasoning of the Court, Angot develops a certain number of arguments that will be addressed using the theories of Genette, Searle and Cohn. We will come to the conclusion that by taking into account literary and linguistic theories, and therefore the manner in which an eventual breach in privacy occurred, the Court could have made a fairer and more readily accepted decision, or at least one more in accordance with the rule of proportionality expected in every democracy.</p
Podcast | « Institut français d'islamologie : comment étudier scientifiquement l'Islam aujourd'hui ? », Le temps du débat - France Culture
No full textAnnoncé en octobre 2020 par Emmanuel Macron, l'Institut français d'Islamologie a été inauguré ce mardi 22 novembre. Si réinvestir la religion musulmane par une démarche scientifique apparaît comme une initiative indispensable, celle-ci pourrait-elle faire évoluer l'approche de l’Islam en France ? ECOUTER Avec Augustin Jomier Historien du Maghreb contemporain, directeur-adjoint scientifique de l’Institut français d’islamologie Sylvie Toscer-Angot Professeure de civilisation, spécialiste de..
Shameful, shameless, and abject bodies in the works of Annie Ernaux, Christine Angot, and Regine Detambel
No full textIn this dissertation, I examine how the French contemporary writers Annie Ernaux, Christine Angot, and Régine Detambel express shame through a minimalist approach to writing. These authors, following a contemporary literary and media-related trend, dare to say it all, exposing the body in different private states. However, their style is bare, economical, simple, and conveys the minimalist principle that less is more. ^ After defining the notion of minimalism, I draw on the fields of psychoanalysis, psychology, and sociology to outline the inherent complexities of shame. I demonstrate that minimalist writing is practical in conveying the intricacies of shame, and specifically its wordlessness. I proceed with a literary analysis of each author\u27s works to examine how they use minimalism to transcribe shame. Ernaux uses minimalist techniques to attain an objectifying distance from her past. Through the act of writing shameful episodes, many involving her body, she liberates her shame, accepts its presence in her life, and transforms it into a positive agent, one which allows her to write. Angot uses shame to disturb her reader by unveiling the incestuous body. Her works symbolize textually, through minimalist techniques, the unsaid innate to shame. By intentionally activating the shame of her reader, whom she incorporates into her works as characters, she places herself above shame. Detambel, through the circularity of her writing and attention to detail, represents textually the struggles of her protagonists to keep shame---a shame that leads to an abjection of their bodies and their own self---at bay. Her characters are marginalized and return to a more primitive state devoid of social shame. ^ I conclude that the theory of shame is trailing behind the literature of shame, and my examination of the works of three contemporary writers shows that the female body is still the catalyst of shame. Working on a language saturated with a history of shame and thus facilitating the verbalization of shame itself is an essential step towards the liberation of women (and men) from the shameful body. These three authors are indeed engaged in liberation of the body through new forms of verbalization.
\"We can say anything in literature\": poetic of the self and politics of literature in autofiction in Hervé Guibert, Christine Angot and Ricardo Lísias
No full textEsta tese analisa os projetos literários de Hervé Guibert e Christine Angot, dentro do sistema literário francês contemporâneo, no qual são classificados como autoficcionais, a ver: uma mescla indissociável de realidade e ficção, (auto)biografia e referências ao real. Parte-se, aqui, da análise das estratégias de persuasão do leitor, dentro do romance, no que depreende uma poética do eu calcada na indefinição ficcional de seu estatuto, para chegar à performance autoral dentro e fora do livro. A pesquisa se centra ainda na análise de Ricardo Lísias, autor brasileiro que importa um modelo de produção de escrita autoficcional, e suas estratégias de publicitação. Da análise dessa poética em sua especificidade (a homonímia, as referências ao real, a metaficção, o autocomentário) chega-se a uma defesa ontológica da especificidade da autoficção, a ver, a defesa de um discurso sobre o não-limite em literatura, realizada de forma espetacular dentro e fora do romance. Por fim, a análise aponta para as mudanças no jogo literário que implicam tais posições, ou seja, para as implicações reais, no mundo real do leitor, que a autoficção enseja. A autoficção age assim de forma política no mundo, uma política da literatura que altera a partilha do sensível e altera e o campo de forças do sistema literário.This thesis focuses on the literary projects of Hervé Guibert and Christine Angot within the contemporary French literary systems, where they are seen as autofictional. This means reality and fiction are mixed and thus impossible to dissociate. This thesis analyses the strategies of persuasion regarding the reader, inside and outside of the novel, from which emerges a poetics of the self, based in the indefinition of the fictional status of those narratives. The research also embraces the Brazilian author Ricardo Lísias, that imports a model of production of writing and its strategies of publicization from the French autoficcional system. From this poetics of the self (the onomastic aspect, the references to reality, metafiction, autocommentary), a defense of the specific ontology of autofiction is reached. It deals with the discourse of defense of the absence of limits (by the author, its narrator) in terms of literature, within and outside of the novel. Then our analysis points to the effective changes those positions inflict in the real world. Autofiction, thus, acts politically in the world, a \"politics of literature\" that alters the \"distribution of the sensible\" and the field of forces in the literary system
Les beaux airs de l'opérette française / avec l'Orchestre Symphonique et Choeurs dir. Jean Laforge
No full textTitre uniforme : [Les mousquetaires au couvent]. Extr.Titre uniforme : [La vie parisienne]. Extr. voc.Titre uniforme : [La grande-duchesse de Gérolstein]. ExtraitTitre uniforme : [Véronique]. ExtraitTitre uniforme : [Coups de roulis]. Extr.Titre uniforme : [Les noces de Jeannette]. Extr.Titre uniforme : [La fille de Madame Angot]. ExtraitTitre uniforme : [Le coeur et la main]. ExtraitTitre uniforme : [Ciboulette]. ExtraitTitre uniforme : [Brummell]. Extr.Titre uniforme : [Les saltimbanques]. ExtraitTitre uniforme : [L'étoile. D 29]. Extr.Titre uniforme : [La mascotte]. ExtraitComprend : Les mousquetaires au couvent : Je suis gris / Varney ; Robert Massard - La mascotte : Chanson du capitaine / Audran ; Isabelle Andreani - Les noces de Jeannette : Air du rossignol / Victoir Masse ; Liliane Berton - Le coeur et la main : Air du casque / Charles Lecocq ; Jean-Christophe Benoit - La fille de madame Angot : Choeur des conspirateurs / Charles Lecocq ; les choeurs - L'étoile : Scène du pal / Emmanuel Chabrier ; Jean-Christophe Benoît - Véronique : Air de la lettre / André Messager ; Gabriel Bacquier - Coups de roulis : Duo / André Messager ; Liliane Berton et Robert Massart - La vie parisienne : Air du Gant / Jacques Offenbach ; Andréa Guiot - La grande-Duchesse de Gerolstein : La déclaration / Jacques Offenbach ; Isabelle Andreani - Les saltimbanques : Duo / Louis Ganne ; Andréa Guiot et J. C. Benoit - Ciboulette : Moi, j'm'appelle Ciboulette / Reynaldo Hahn ; Liliane Berton - Ciboulette : Duo du voyage / L. Berton et G. Bacquier - Brummel : Air de la boxe / Reynaldo Hahn ; J. C. BenoitBnF-Partenariats, Collection sonore - BelieveContient une table des matière
