2012
DOI: 10.1177/0957155811427628
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Le Survivant de la Shoah face au texte de fiction: Un écran protecteur ou un écran projecteur? L’exemple d’Anna Langfus

Abstract: La terminologie 'écriture écran' est souvent utilisée dans un sens proche de celui que lui donne Annie Ernaux lorsqu'elle écrit que 'la fiction protège' en permettant à un auteur de dire tout en gardant le lecteur à distance. Pourtant, de Blanchot à Genette, de nombreux critiques ont souligné que le texte est par essence un espace qui n'existe que dans et par cet échange, le lecteursurtout dans le cas des textes de fiction -devant s'investir, se projeter dans le texte lu. Le texte de fiction serait-il donc un … Show more

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Cited by 3 publications
(1 citation statement)
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“…A good example of this is the opening sequence of Les Bagages , which sees Maria returning home and entering into an animated conversation with her dead parents and husband, Jacques. The exchange is reported in direct speech mode, all participants, whose mannerisms and intonation are described, being given equal weight, Manuel Bragança noting that throughout Langfus's corpus, ‘the dead have as much density as the other characters, if not more’ (Bragança, 2012, 85). In an angry tone, Maria declares that she wants to be left alone.…”
Section: Exile and Abjectionmentioning
confidence: 99%
“…A good example of this is the opening sequence of Les Bagages , which sees Maria returning home and entering into an animated conversation with her dead parents and husband, Jacques. The exchange is reported in direct speech mode, all participants, whose mannerisms and intonation are described, being given equal weight, Manuel Bragança noting that throughout Langfus's corpus, ‘the dead have as much density as the other characters, if not more’ (Bragança, 2012, 85). In an angry tone, Maria declares that she wants to be left alone.…”
Section: Exile and Abjectionmentioning
confidence: 99%