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dc.contributor.authorAude, Nicolas
dc.date.accessioned2022-12-15T09:02:49Z
dc.date.available2022-12-15T09:02:49Z
dc.date.issued2022
dc.identifierONIX_20221215_9791036205828_74
dc.identifier.issn2679-0378
dc.identifier.urihttps://directory.doabooks.org/handle/20.500.12854/95077
dc.languageFrench
dc.relation.ispartofseriesSignes
dc.subject.classificationthema EDItEUR::D Biography, Literature and Literary studies::DS Literature: history and criticism::DSB Literary studies: generalen_US
dc.subject.otherconfession
dc.subject.othermystery
dc.subject.otherpublic space
dc.subject.otherintimacy
dc.subject.otherscenography
dc.titleLes aveux imaginaires
dc.title.alternativeScénographie de la confession dans le roman (Angleterre, France, Russie)
dc.typebook
oapen.abstract.otherlanguageThis book examines the proliferation of self-disclosures that has occurred in European fiction since the end of the 18th century. Its object is the novelistic scene of confession as we find it represented by six authors from England, France and Russia: Ann Radcliffe, George Sand, Charlotte Brontë, Fedor Dostoyevsky, Maxime Gorki and Georges Bernanos. The comparison invites us to distance ourselves from the traditional categories of literary history. By fitting into the narrative dynamic of romantic mysteries, this scenography reveals a fundamental fragility of the division between public and private in the context of post-Romantic creation. Viewed through the prism of a cultural history of confession, such a mosaic of texts can finally resonate with the hypermodern proliferation of self-expression. The paradoxes of their imaginary confessions thus become our paradoxes.
oapen.identifier.doi10.4000/books.enseditions.42659
oapen.relation.isPublishedBy2ef10e66-6d3e-4b6d-9799-bf76360dd3e6
oapen.relation.isbn9791036205828
oapen.relation.isbn9791036205804
oapen.pages358
oapen.place.publicationLyon


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