FR
EN
To quote this text
Stéphane Lojkine, "Une sémiologie du décalage : Loth à la scène", introduction to La Scène. Littérature et arts visuels, L'Harmattan, March 2001, texts compiled by Marie-Thérèse Mathet
Full text
The line of history, the...
Associé à une fiche membre :
149 notices. Affichage des notices 1 à 21.
Articles
I'd better warn the reader from the outset : the following lines will teach him nothing about eighteenth-century Russia. Worse still Leprince's painting says very little. Yet it was his trip to Russia that made Leprince famous ...
The purpose of this article is to propose a genealogical model of the representational regimes that organize the image in classical illustration printmaking. A regime of representation is defined by the concordance of a device in the image and a...
Joconde, between 1765 and 1777, bistre wash passed with brush and pen over traces of black stone, 20.4x14 cm, manuscript of La Fontaine's Contes et nouvelles en vers illustrated by Fragonard, Paris, Musée du Petit-Palais." data-entity-type="" data-...
"Because it is sweet to hear [during1] the night a concert of flutes which is performed in the distance and of which it reaches me only some scattered sounds that my imagination helped by the sharpness of my ear, I believe that the concert...
In 1962, Michel Foucault, who had just defended his thesis, Folie et déraison: histoire de la folie à l'âge classique, published an introduction to Rousseau juge de Jean-Jacques, the last great autobiographical and paranoid text by the citizen of...
The back-and-forth between the world of things and the world of objects is generally what's at stake in any representation. But it is in the tale, where the barrier of verisimilitude and the alibi of realism exert less censorship, that the...
Reality doesn't immediately manifest itself to us as objects, but as things. The object is already a constructed entity, circumscribed and integrated into a set of categories. The object can later be named, domesticated by language. But from the...
I. From language to image: unexpected consequences of a radical cultural shift
Foucault's Meninas paradox
The Menines, 1656-1657" data-entity-type="" data-entity-uuid="" src="/system/files/styles/large/private/notices/004/haute_def/004457.jpg?...
I. Grimm's dilemma: the dispossession of the name
At the beginning of the Lettre apologétique de l'abbé Raynal, Diderot recalls the sarcastic dilemma that Grimm had thrown at Raynal, who had just provoked scandal by displaying his portrait and...
Eighteenth-century painting is defined both as classical painting and as painting in crisis. Deployed in Enlightenment Europe under the aegis of the Royal Academy of Painting, it established norms, codes of representation; it could only be composed...
Literary acceptability of the screen
The screen also concerns literature. Yet precisely because it has nothing to do with literature's stewardship, with its poetics of genres, with its rhetorical resources, the screen constitutes an essential...
In today's language, an "event" is what happens, what happens when it happens. The term did not have this meaning in classical language. Furetière defines it as "Issuë, succés bon ou mauvais de quelque chose1". This meaning is preserved in the...
Course in French theory, L3-M1 LIPS, Université d'Aix-Marseille, January-April 2022.
This course follows on from the international colloquium Derrida 2021: biopolitics and deconstruction organized by CIELAM in December 2021, the proceedings of...
In the fourth part of La Nouvelle Héloïse, at the invitation of M. de Wolmar, whose happy and fulfilled wife Julie is now, Saint-Preux travels to Clarens, where the de Wolmar family lives. This invitation constitutes the central pivot of the novel,...
By making La Nouvelle Héloïse a roman of discourse, Rousseau constructs a novel that strikes the event as forbidden: what happens, the fact in general that something happens, is nefas, meaning that the event on the one hand is marked with the corner...
To quote this text
Stéphane Lojkine, "L'aveu... La Princesse de Clèves ou l'écran classique", La Scène de roman, Armand Colin, collection U, 2002, p. 78-98.
Full text
Mme de Lafayette didn't write novels in the modern sense. It is in the...
The great novelistic innovation of the sixteenth century is not immediately visible : after the creative explosion of the medieval novel, the Renaissance seems to experience a time of crisis and retreat. Chivalric adventures and allegorical...
We end up forgetting that the notion of the novelistic scene implicitly contains a theatrical metaphor : something in the novel, at a given moment, opens up the space of a theatrical stage.
The theatrical metaphor is totally absent from...
The spectacular effect of the stage, in a novel, at the theater, in front of a painting, transcends genres, is immediate. It's what we retain best from a reading, a performance or a visit to a museum, even better than the meandering narrative,...
Fragonard, Coresus and CallirhoeThe year 1765 marks the beginning of Fragonard's career in Paris, as he returns from a long stay abroad, first in Italy (December 1756 - September 1761), then in Holland (1761-1765): it was this year, in fact, that he...