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Dans ce mémoire de recherche M1 nous avons étudié la figure de l’enseignant dans les romans autobiographiques de Jules Vallès et Daniel Pennac, en particulier dans L’Enfant (1879) et Chagrin d’école (2007). Nous avons construit notre... more
Dans ce mémoire de recherche M1 nous avons étudié la figure de l’enseignant dans les romans autobiographiques de Jules Vallès et Daniel Pennac, en particulier dans L’Enfant (1879) et Chagrin d’école (2007). Nous avons construit notre réflexion autour de l’esthétique du renversement, l’utilisation de l’ironie et la satire violente du professeur, et nous avons mis ces techniques d’écritures en rapport avec la discontinuité structurale des deux romans. Ce qui nous a permis de montrer que la représentation volontairement fragmentée de la figure du professeur coïncide avec la décomposition intérieure des œuvres au niveau syntaxique. Il est devenu possible de constater la modification du genre romanesque à travers la présence des éléments autobiographiques, des techniques journalistiques, des traces du roman d’apprentissage et du roman d’enfance. Le renouvellement du genre romanesque mime ainsi la nécessité du renouvellement du système éducatif des deux époques. Les écrivains, à force de critiquer le système scolaire, construisent implicitement un nouveau paradigme avec un nouveau type de professeur.
April 2002. "Text and Intertext in Daniel Pennac’s Malaussene Novels". Roman Policier Italien et Français Conference. Institute of Romance Studies, Senate House, London. The semiotic notion of intertextuality introduced by Julia... more
April 2002. "Text and Intertext in Daniel Pennac’s Malaussene Novels". Roman Policier Italien et Français Conference. Institute of Romance Studies, Senate House, London.
The semiotic notion of intertextuality introduced by Julia Kristeva is associated primarily with poststructuralist theorists. Kristeva referred to texts in terms of two axes: a horizontal axis connecting the author and reader of a text, and a vertical axis, which connects the text to other texts. This study will deal with both of these axes.
In Palimpsestes, Gérard Genette studied several types of intertextual relationships: the simple allusion to another text, the quotation and plagiarism.
Intertextuality, or the reference within a text to other texts that the readers may or may not know, is a very common feature in detective fiction. Very often, it is a means of underlining the literary quality of the genre, which is often denied by critics.
It may also be a game with the reader, a way of sharing a common imaginary universe, of making dead and gone writers come to life again. In his Le Crime de Mr. Hyde (1998) and Les Hommes de Cire (2002), Jean-Pierre Naugrette intertwines the world of Sir Arthur Conan Doyle and that of Robert Louis Stevenson. In Le Crime de Mr. Hyde, Sherlock Holmes and Doctor Watson (more precisely their investigation into The Sign of Four) suddenly appear within the story of Doctor Jekyll and Mr. Hyde.
It may also be part of a puzzle, a way of setting the reader on the right track, of helping him or her solve the enigma. Agatha Christie often resorted to famous poems such as Lord Alfred Tennyson's Lady of Shalott (in The Mirror Crack'd from Side to Side ) or the clown’s song from Shakespeare’s Twelfth Night (in Sad Cypress ), to Greek mythology (The Labour of Hercules) or to nursery rhymes (in One, Two, Buckle My Shoe, Ten Little Indians/ And Then There Were None, Crooked House, Five Little Pigs, Hickory Dickory Dock, Mrs. McGinty's Dead, A Pocket Full Of Rye…)
Other writers, such as Jean-Hugues Oppel in Ambernave (1995), place their characters under the patronage of famous literary characters in order to stress the weight of their destiny. A quotation from Of Mice and Men by John Steinbeck (1937) provides the epigraph to the whole novel. Also, Emile constantly refers to Of Mice and Men as the key to understanding life. At the end of the novel, he is faced with a truth: there is no escaping Fate, there is no saving Joe from his own brutish force. From the very beginning, the reader knows that the characters are doomed. There will be no happy end.
Daniel Pennac, in Comme un roman (Reads Like A Novel), conveys his love for reading and for helping others enjoy reading. As a teacher of literature, Pennac takes his role as a guide very seriously. In many ways his fiction reflects the philosophy he expressed in Reads Like A Novel. He therefore tries to make reading something pleasurable, a happy conversation with writers who may be dead and gone - or not.
His five Malaussène novels (Au Bonheur des ogres/ The Scapegoat, 1985; La Fée carabine/ The Fairy Gunmother, 1987; La petite marchande de prose/ Write to Kill, 1989; Monsieur Malaussène, 1995; Aux Fruits de la passion/ Passion Fruit, 1999) are perfect examples of intertextual references, parodies and self-parodies.
This series, set in the popular district of Belleville, in the Paris East side, tells of the adventures of the "Malaussène tribe": Benjamin Malaussène, his partner, Julie Corrençon, his half brothers and sisters (whenever she falls in love, the mother leaves Paris, with Benjamin in charge of the family, and generally comes back pregnant). Moreover, each child has adopted a grandfather (The Fairy Gunmother) and the family has a very large number of friends, including a certain number of police inspectors who had first come into contact with them in their line of duty, Benjamin Malaussène being a regular suspect for murder cases. The friends of the family represent most of the ethnic and cultural groups present in Paris (French, Arabs, Asians, Slavs, etc.) All these characters belong to the "Malaussène tribe".
The semiotic notion of intertextuality introduced by Julia Kristeva is associated primarily with poststructuralist theorists. Kristeva referred to texts in terms of two axes: a horizontal axis connecting the author and reader of a text, and a vertical axis, which connects the text to other texts. This study will deal with both of these axes.
In Palimpsestes, Gérard Genette studied several types of intertextual relationships: the simple allusion to another text, the quotation and plagiarism.
Intertextuality, or the reference within a text to other texts that the readers may or may not know, is a very common feature in detective fiction. Very often, it is a means of underlining the literary quality of the genre, which is often denied by critics.
It may also be a game with the reader, a way of sharing a common imaginary universe, of making dead and gone writers come to life again. In his Le Crime de Mr. Hyde (1998) and Les Hommes de Cire (2002), Jean-Pierre Naugrette intertwines the world of Sir Arthur Conan Doyle and that of Robert Louis Stevenson. In Le Crime de Mr. Hyde, Sherlock Holmes and Doctor Watson (more precisely their investigation into The Sign of Four) suddenly appear within the story of Doctor Jekyll and Mr. Hyde.
It may also be part of a puzzle, a way of setting the reader on the right track, of helping him or her solve the enigma. Agatha Christie often resorted to famous poems such as Lord Alfred Tennyson's Lady of Shalott (in The Mirror Crack'd from Side to Side ) or the clown’s song from Shakespeare’s Twelfth Night (in Sad Cypress ), to Greek mythology (The Labour of Hercules) or to nursery rhymes (in One, Two, Buckle My Shoe, Ten Little Indians/ And Then There Were None, Crooked House, Five Little Pigs, Hickory Dickory Dock, Mrs. McGinty's Dead, A Pocket Full Of Rye…)
Other writers, such as Jean-Hugues Oppel in Ambernave (1995), place their characters under the patronage of famous literary characters in order to stress the weight of their destiny. A quotation from Of Mice and Men by John Steinbeck (1937) provides the epigraph to the whole novel. Also, Emile constantly refers to Of Mice and Men as the key to understanding life. At the end of the novel, he is faced with a truth: there is no escaping Fate, there is no saving Joe from his own brutish force. From the very beginning, the reader knows that the characters are doomed. There will be no happy end.
Daniel Pennac, in Comme un roman (Reads Like A Novel), conveys his love for reading and for helping others enjoy reading. As a teacher of literature, Pennac takes his role as a guide very seriously. In many ways his fiction reflects the philosophy he expressed in Reads Like A Novel. He therefore tries to make reading something pleasurable, a happy conversation with writers who may be dead and gone - or not.
His five Malaussène novels (Au Bonheur des ogres/ The Scapegoat, 1985; La Fée carabine/ The Fairy Gunmother, 1987; La petite marchande de prose/ Write to Kill, 1989; Monsieur Malaussène, 1995; Aux Fruits de la passion/ Passion Fruit, 1999) are perfect examples of intertextual references, parodies and self-parodies.
This series, set in the popular district of Belleville, in the Paris East side, tells of the adventures of the "Malaussène tribe": Benjamin Malaussène, his partner, Julie Corrençon, his half brothers and sisters (whenever she falls in love, the mother leaves Paris, with Benjamin in charge of the family, and generally comes back pregnant). Moreover, each child has adopted a grandfather (The Fairy Gunmother) and the family has a very large number of friends, including a certain number of police inspectors who had first come into contact with them in their line of duty, Benjamin Malaussène being a regular suspect for murder cases. The friends of the family represent most of the ethnic and cultural groups present in Paris (French, Arabs, Asians, Slavs, etc.) All these characters belong to the "Malaussène tribe".
1998, Mitos (vol. 2)
Al igual que sucede en la novela policíaca de otras latitudes, también la francesa cuenta con un número importante de obras pobladas de individuos que se alejan del esquema clásico y protagonizan situaciones narrativas poco habituales e... more
Al igual que sucede en la novela policíaca de otras latitudes, también la francesa cuenta con un número importante de obras pobladas de individuos que se alejan del esquema clásico y protagonizan situaciones narrativas poco habituales e incluso disparatadas. Y aunque al hablar de humor —cuya definición dista mucho de resultar única y sencilla— pensamos casi inmediatamente en el efecto directo que suele producir, bien sabemos cuan diferentes pueden ser las risas o las sonrisas.
Si el humor por principio invalida el carácter serio de los textos realistas fundados sobre el concepto de representación y sobre la construcción de una fusión reverencial (Evrard), tiene asimismo el poder de dejar al descubierto la marca de las convenciones literarias sobre las que reposa el modelo tradicional. Y dentro del ámbito de unas practicas literarias que apuntan al combate mitológico entre las fuerzas del Bien y del Mal, hablar de mitos significara tanto aludir a los valores de la sociedad y.de la cultura de nuestro siglo, como a las construcciones simbólicas relacionadas con la tradición& cultural literaria y, claro esta, con el género policíaco. En última instancia, y en términos barthianos, estamos afirmando una vez mas que el mito es un sistema de comunicación, un conjunto mas o menos indefinido de ilusiones colectivas, fundadas en un sistema de valores implícito. De ahí que la dimensión simbólica de la novela policíaca se perciba con claridad en sus representaciones míticas y utópicas, estrechamente ligadas a la construcción de imaginarios colectivos mediante procedimientos retóricos y narrativos que son los que se encargan, a su vez, de configurar la apariencia de una coherencia interna a través del tiempo, de asegurar la propia existencia del género (Eisenzweig).
La obra de Daniel Pennac constituye uno de los más claros exponentes de la novela negra humorística francesa. Su celebre tetralogía: Au bonheur des ogres (1985), La fée carabine (1987), La petite marchande de prose (1989) y Monsieur Malaussene (1995), centrada en la figura del emblemático Malaussène, ilustra la complejidad de elementos que con-
fluyen en la configuración de un imaginario oscuro, como corresponde al marco de Ia novela negra, al mismo tiempo que iluminado por esporádicos momentos repletos de ternura, dentro de un universo de ficción cruzado por un humor corrosivo de claros matices oníricos e incluso surrealistas.
Si el humor por principio invalida el carácter serio de los textos realistas fundados sobre el concepto de representación y sobre la construcción de una fusión reverencial (Evrard), tiene asimismo el poder de dejar al descubierto la marca de las convenciones literarias sobre las que reposa el modelo tradicional. Y dentro del ámbito de unas practicas literarias que apuntan al combate mitológico entre las fuerzas del Bien y del Mal, hablar de mitos significara tanto aludir a los valores de la sociedad y.de la cultura de nuestro siglo, como a las construcciones simbólicas relacionadas con la tradición& cultural literaria y, claro esta, con el género policíaco. En última instancia, y en términos barthianos, estamos afirmando una vez mas que el mito es un sistema de comunicación, un conjunto mas o menos indefinido de ilusiones colectivas, fundadas en un sistema de valores implícito. De ahí que la dimensión simbólica de la novela policíaca se perciba con claridad en sus representaciones míticas y utópicas, estrechamente ligadas a la construcción de imaginarios colectivos mediante procedimientos retóricos y narrativos que son los que se encargan, a su vez, de configurar la apariencia de una coherencia interna a través del tiempo, de asegurar la propia existencia del género (Eisenzweig).
La obra de Daniel Pennac constituye uno de los más claros exponentes de la novela negra humorística francesa. Su celebre tetralogía: Au bonheur des ogres (1985), La fée carabine (1987), La petite marchande de prose (1989) y Monsieur Malaussene (1995), centrada en la figura del emblemático Malaussène, ilustra la complejidad de elementos que con-
fluyen en la configuración de un imaginario oscuro, como corresponde al marco de Ia novela negra, al mismo tiempo que iluminado por esporádicos momentos repletos de ternura, dentro de un universo de ficción cruzado por un humor corrosivo de claros matices oníricos e incluso surrealistas.