Le dialogue de Marivaux avec ses lecteurs

Bonaccorso, Giovanni

doi:10.3406/caief.1973.1033

Cited by 3 publications

(2 citation statements)

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“…As Giovanni Bonaccorso has pointed out, Marivaux's 'réflexions' 'sont présentées par touches successives, permettant à l'écrivain de mieux préciser sa pensée, comme s'il avait devant lui un interlocuteur.' 21 A new relationship between author and reader had developed in his time, casting aside traditional politeness toward the reader or the desire to win his sympathy. 22 Marivaux, for example, provokes the reader, anticipates criticisms, answers critics whose objections he is hearing in salons and cafés.…”

Section: Marivaux's 'Libertinage Ctidées' In Le Spectateur Françaismentioning

confidence: 99%

Marivaux's 'Libertinage d’Idées' in Le Spectateur Français

Chadbourne

1989

Man and Nature

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Section: Marivaux's 'Libertinage Ctidées' In Le Spectateur Françaismentioning

confidence: 99%

Marivaux's 'Libertinage d’Idées' in Le Spectateur Français

Chadbourne

1989

Man and Nature

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“…Поэтому иногда это произведение считают наполовину романом, наполовину -эссе[Booth, 1983, p. 216].2 О диалоге с читателем в романах и эссе Мариво см. подробно:[Bonacorso, 1973].…”

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Implied Author and Implied Reader in Rococo Novel

Pakhsaryan¹

2020

chel

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The article concerns the forms and functions of the implied author and the implied reader in the novels by Lesage, Prevost, Marivaux, Crébillon, Bibiena, Diderot, Defoe, Fielding and Stern. Referring to the narrative on behalf of the hero, which is mainly used in the Rococo novel, as well as the narrative from the author in Fielding's novels equally, although in different ways, complicate the identification of the implied author, whose image is displaced by the explicit narrator. At the same time, there is a process of making the relations with readers intimate, both in the «Appeals to the reader» and in the novels themselves in various forms of appeal to explicit readers – to the community of friends, to a friend, etc. In the Rococo novelistic prose, an «uncertain narrative» is formed, consisting of a chain of stories within one story and a variety of narrators, which reveals the ambiguity of the implied author's statements and descriptions, as well as the breadth and indefiniteness of the reading public that the novelist actually addresses.

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Das Paradoxon der Dissimulation – Über die Notwendigkeit der Täuschung zur Gestaltung von Natürlichkeit in Marivauxʼ Le Jeu de l’amour et du hasard

Dickhaut

2024

Rhetorik

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Dissimulation of the human being can never be fully achieved by an actor, as the actor’s body always remains present as a medium. This knowledge of the non-fictional character of the actors and actresses on stage makes the audience accomplices to the performed play. In his Le Jeu de lʼamour et du hasard, Marivaux creates a specific procedure of his poetics based on dissimulation by simply addressing the apparent impossibility of bringing a theater audience into a complete illusion. This way, he can paradoxically use the spectators’ knowledge and exploit it for his own purposes. With this procedure of addressing the purpose in the dialogue, which originates from rhetoric, the play as a procedure is reinforced and naturalized. Marivaux thus cures the deficiency of dissimulation and additionally binds it to an ethical premise that legitimizes the procedure itself and thus also dignifies and intensifies the simulation of the play itself.

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Le dialogue de Marivaux avec ses lecteurs

Cited by 3 publications

References 1 publication

Marivaux's 'Libertinage d’Idées' in Le Spectateur Français

Marivaux's 'Libertinage d’Idées' in Le Spectateur Français

Implied Author and Implied Reader in Rococo Novel

Das Paradoxon der Dissimulation – Über die Notwendigkeit der Täuschung zur Gestaltung von Natürlichkeit in Marivauxʼ Le Jeu de l’amour et du hasard

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