{"id":2420,"date":"2020-10-14T11:28:18","date_gmt":"2020-10-14T09:28:18","guid":{"rendered":"http:\/\/www.lilec.it\/francofonia\/?p=2420"},"modified":"2021-05-09T11:40:47","modified_gmt":"2021-05-09T09:40:47","slug":"79-2020","status":"publish","type":"post","link":"http:\/\/www.lilec.it\/francofonia\/79-2020\/","title":{"rendered":"79 Automne \/ Autunno 2020"},"content":{"rendered":"<p><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-1 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-0 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last\" style=\"--awb-bg-size:cover;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-text fusion-text-1\"><h2 style=\"text-align: center;\" data-fontsize=\"34\" data-lineheight=\"47\"><strong><div class=\"fusion-counters-circle counters-circle\" data-animationOffset=\"top-into-view\"><div class=\"counter-circle-wrapper\" style=\"--awb-font-size:34.090909090909px;--awb-size:150px;\" data-originalsize=\"150\"><div class=\"fusion-counter-circle counter-circle counter-circle-content\" data-percent=\"100\" data-countdown=\"\" data-filledcolor=\"rgba(0,165,55,1)\" data-unfilledcolor=\"rgba(246,246,246,1)\" data-scale=\"\" data-size=\"150\" data-speed=\"1500\" data-strokesize=\"7.5\"><div class=\"fusion-counter-circle-content-inner\">79<\/div><\/div><\/div><\/div> Automne\/Autunno 2020<\/strong><\/h2>\n<h1 style=\"text-align: center;\" data-fontsize=\"34\" data-lineheight=\"47\"><em>Sainte-Beuve<br \/>\nentre la litt\u00e9rature, la critique et l&#8217;histoire<\/em><\/h1>\n<h3 style=\"text-align: center;\" data-fontsize=\"34\" data-lineheight=\"47\"><strong>sous la direction de<br \/>\nAndr\u00e9 Guyaux et Romain Jalabert<\/strong><\/h3>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-2 hundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-background-position:left top;--awb-background-blend-mode:overlay;--awb-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--awb-border-sizes-left:0px;--awb-border-sizes-right:0px;--awb-border-color:#ff3300;--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:30px;--awb-padding-bottom:35px;--awb-background-color:rgba(224,224,224,0.95);--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-1 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-margin-bottom:0px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-text fusion-text-2\"><h2 style=\"text-align: center;\"><span style=\"color: #000000;\">Sommaire \/\u00a0<\/span><span style=\"color: #000000;\">Indice<\/span><\/h2>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-3 hundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-right:20px;--awb-padding-left:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-2 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last fusion-column-no-min-height\" style=\"--awb-bg-size:cover;--awb-margin-bottom:0px;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-section-separator section-separator triangle fusion-section-separator-1\" style=\"--awb-border-bottom:1px solid rgba(224,224,224,0.95);--awb-spacer-height:1px;--awb-svg-margin-left:0;--awb-svg-margin-right:0;--awb-icon-color:#ffffff;\"><div class=\"fusion-section-separator-svg\"><div class=\"divider-candy-arrow bottom\" style=\"top:0px;border-top-color: rgba(224,224,224,0.95);\"><\/div><div class=\"divider-candy bottom\" style=\"bottom:-21px;border-bottom:1px solid rgba(224,224,224,0.95);border-left:1px solid rgba(224,224,224,0.95);\"><\/div><\/div><div class=\"fusion-section-separator-spacer\"><div class=\"fusion-section-separator-spacer-height\"><\/div><\/div><\/div><div class=\"fusion-text fusion-text-3\"><\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-4 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-padding-top:20px;--awb-padding-bottom:20px;--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-3 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last\" style=\"--awb-bg-size:cover;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-text fusion-text-4\"><p><strong>Romain Jalabert<\/strong>, Introduction<\/p>\n<\/div><div class=\"fusion-tabs fusion-tabs-1 classic nav-is-justified horizontal-tabs icon-position-left mobile-mode-accordion\" style=\"--awb-title-border-radius-top-left:0px;--awb-title-border-radius-top-right:0px;--awb-title-border-radius-bottom-right:0px;--awb-title-border-radius-bottom-left:0px;--awb-inactive-color:#ebeaea;--awb-background-color:#ffffff;--awb-border-color:#ebeaea;--awb-active-border-color:#278157;\"><div class=\"nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li class=\"active\" role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-e9840c617fbd34c8c69\" aria-selected=\"true\" id=\"fusion-tab-articles\" href=\"#tab-e9840c617fbd34c8c69\"><h4 class=\"fusion-tab-heading\">Articles<\/h4><\/a><\/li><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-8fa0a307d974de520df\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-r\u00e9sum\u00e9s\" href=\"#tab-8fa0a307d974de520df\"><h4 class=\"fusion-tab-heading\">R\u00e9sum\u00e9s<\/h4><\/a><\/li><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-1e58a6b51d13aaf163a\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-abstracts\" href=\"#tab-1e58a6b51d13aaf163a\"><h4 class=\"fusion-tab-heading\">Abstracts<\/h4><\/a><\/li><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-d727d4e2f863ff4023a\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-bio-bibliographiesdescontributeurs\" href=\"#tab-d727d4e2f863ff4023a\"><h4 class=\"fusion-tab-heading\">Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-content\"><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li class=\"active\" role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-e9840c617fbd34c8c69\" aria-selected=\"true\" id=\"mobile-fusion-tab-articles\" href=\"#tab-e9840c617fbd34c8c69\"><h4 class=\"fusion-tab-heading\">Articles<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix in active\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-articles\" id=\"tab-e9840c617fbd34c8c69\">\n<p class=\"p1\"><span class=\"s1\"><strong>Romain Benini,<\/strong> L\u2019exp\u00e9rience du vers dans <em>Vie, po\u00e9sies et pens\u00e9es<\/em> de Joseph Delorme<\/span><\/p>\n<p class=\"p1\"><strong>Michel Brix,<\/strong> Sainte-Beuve et la critique romantique<\/p>\n<p class=\"p1\"><strong>Jos\u00e9-Luis Diaz, <\/strong>Arouet sous Badinguet. Le \u00ab\u202fdialogue\u202f\u00bb Sainte-Beuve \u2013 Nisard \u00e0 l&#8217;\u00c9cole normale<\/p>\n<p class=\"p1\"><strong>Marie-Catherine Huet-Brichard,<\/strong> Les \u00ab\u202fchoses lues\u202f\u00bb de Sainte-Beuve. Lettres \u00e0 Juste et Caroline Olivier (1843-1845)<\/p>\n<p class=\"p1\"><span class=\"s1\"><strong>Patrick Labarthe,<\/strong> Remarques sur <em>Port-Royal<\/em> et le roman historique<\/span><\/p>\n<p class=\"p2\"><strong>Vincent Laisney,<\/strong> \u00ab\u202fPeindre au vrai\u202f\u00bb. De l\u2019usage des souvenirs dans la critique<\/p>\n<p class=\"p2\"><strong>Jean-Thomas Nordmann,<\/strong> Sainte-Beuve et l\u2019id\u00e9e d\u2019une histoire litt\u00e9raire de la France<\/p>\n<p class=\"p2\"><strong>Andrea Schellino,<\/strong> Sainte-Beuve juge de lui-m\u00eame<\/p>\n<\/div><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-8fa0a307d974de520df\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-r\u00e9sum\u00e9s\" href=\"#tab-8fa0a307d974de520df\"><h4 class=\"fusion-tab-heading\">R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-r\u00e9sum\u00e9s\" id=\"tab-8fa0a307d974de520df\">\n<p><b>Romain Benini,\u00a0<\/b>L&#8217;exp\u00e9rience du vers dans\u00a0<em>Vie, po\u00e9sie et pens\u00e9es de Joseph Delorme.<br \/>\n<\/em>Cet article essaie d\u2019\u00e9tudier conjointement les d\u00e9clarations de Sainte-Beuve dans les <i>Pens\u00e9es<\/i> et leur application dans les <i>Po\u00e9sies<\/i> <i>de Joseph Delorme<\/i>. Il s\u2019agit d\u2019observer ce qui, dans ce premier recueil, rel\u00e8ve du manifeste po\u00e9tique, de comprendre comment les formes qu\u2019il emploie manifestent une esth\u00e9tique propre et de d\u00e9crire aussi pr\u00e9cis\u00e9ment que possible, notamment en ce qui concerne la versification, la mani\u00e8re dont il s\u2019inscrit dans l\u2019\u00e9volution po\u00e9tique de son temps.<\/p>\n<p><b>Michel Brix<\/b>, Sainte-Beuve et la critique romantique.<br \/>\nLa figure de Sainte-Beuve reste attach\u00e9e \u00e0 une \u00ab\u202fmani\u00e8re\u202f\u00bb critique qui utilise l\u2019\u0153uvre litt\u00e9raire pour faire le portrait de l\u2019homme ou de la femme qui l\u2019a produite. Cette forme de critique est n\u00e9e \u00e0 la fin du XVIII<sup>e<\/sup> si\u00e8cle, quand s\u2019est impos\u00e9e dans le champ litt\u00e9raire la th\u00e8se rousseauiste que toute \u0153uvre renvoie au contexte de sa production, et particuli\u00e8rement \u00e0 son auteur. La critique classique, au contraire, n\u2019offrait aucun \u00e9clairage concernant les origines des \u0153uvres mais se contentait d\u2019exclure du champ litt\u00e9raire les ouvrages qui ne correspondaient pas aux r\u00e8gles de la rh\u00e9torique. Sainte-Beuve est au XIX<sup>e<\/sup> si\u00e8cle le repr\u00e9sentant le plus \u00e9minent de la critique nouvelle qui postule que tout auteur se donne \u00e0 conna\u00eetre dans ses \u0153uvres. Aujourd\u2019hui, cette conception de la litt\u00e9rature est toujours la n\u00f4tre, et les reproches que l\u2019on peut adresser aux analyses de Sainte-Beuve illustrent les limites et les apories de notre \u00ab\u202fmodernit\u00e9\u202f\u00bb.<\/p>\n<p><b>Jos\u00e9-Luis Diaz<\/b>, Arouet sous Badinguet- Le \u00abdialogue\u00bb Saint-Beuve &#8211; Nisard \u00e0 l&#8217;\u00c9cole normale.<br \/>\nComment enseignait-on Voltaire sous Napol\u00e9on III, \u00e0 l\u2019\u00c9cole normale sup\u00e9rieure, dont D\u00e9sir\u00e9 Nisard fut le directeur (1857-1867) et Sainte-Beuve le ma\u00eetre de conf\u00e9rences (1857-1861)\u202f? Est \u00e9voqu\u00e9 l\u2019\u00e9tat d\u2019esprit des \u00e9l\u00e8ves, tant vis-\u00e0-vis de Voltaire que vis-\u00e0-vis de ces deux acad\u00e9miciens soutenant le r\u00e9gime imp\u00e9rial. Puis est compar\u00e9 l\u2019enseignement dispens\u00e9 par Nisard \u00e0 titre de galop d\u2019essai du futur t.\u202fiv de son <i>Histoire de la litt\u00e9rature fran\u00e7aise<\/i> consacr\u00e9 au XVIII<sup>e<\/sup> si\u00e8cle (1861) et le Voltaire qu\u2019aurait pu leur enseigner Sainte-Beuve, lequel s\u2019est souvent exprim\u00e9 sur lui dans ses <i>Causeries du lundi<\/i> puis ses <i>Nouveaux Lundis<\/i>, dans un style et selon une m\u00e9thode aux antipodes de l\u2019enseignement professoral de Nisard.<\/p>\n<p class=\"p1\"><strong>Marie-Catherine Huet-Brichard, <\/strong>Les \u00ab\u202fchoses lues\u202f\u00bb de Sainte-Beuve. Lettres \u00e0 Juste et Caroline Olivier (1843-1845). <i><br \/>\n<\/i>De 1843 \u00e0 1845, Sainte-Beuve r\u00e9dige \u00e0 l\u2019intention de son ami Juste Olivier les \u00ab\u202fChroniques parisiennes\u202f\u00bb de la <i>Revue suisse<\/i>. \u00c0 travers ce genre fourre-tout qui lui offre souplesse et libert\u00e9 de parole (ses articles ne sont pas sign\u00e9s), il esp\u00e8re pratiquer une \u00ab\u202fcritique vraie\u202f\u00bb. Mariant le l\u00e9ger et le s\u00e9rieux, l\u2019anecdote et le commentaire, le potin et l\u2019analyse, la petite histoire et l\u2019histoire litt\u00e9raire, il se transforme en sociologue, un sociologue sensible aux ph\u00e9nom\u00e8nes de mode, mais toujours attentif aux sympt\u00f4mes avant-coureurs de changements profonds et durables.<\/p>\n<p class=\"p1\"><strong><span class=\"s1\">Patrick Labarthe<\/span>, <\/strong><span class=\"s1\">Remarques sur Port-Royal et le roman historique.<br \/>\n<\/span>Si l\u2019Histoire est bien le ma\u00eetre mot du Romantisme,<span class=\"Apple-converted-space\">\u00a0 <\/span>l\u2019ambition qu\u2019a Sainte-Beuve d\u2019\u00e9crire avec <i>Port-Royal<\/i> l\u2019histoire de la grandeur et de la d\u00e9cadence d\u2019une \u00ab\u202fsecte\u202f\u00bb compos\u00e9e des \u00ab\u202fderniers grands exemples des hommes qui ont \u00e9t\u00e9 les derniers Saints\u202f\u00bb, le conduit \u00e0 un dialogue incessant avec les \u00e9critures de l\u2019Histoire qui, depuis 1820, se sont \u00e9labor\u00e9es sous ses yeux, si bien que Port-Royal peut se lire comme une synth\u00e8se des philosophies de l\u2019Histoire au XIX<sup>e<\/sup> si\u00e8cle. Cette \u00e9tude ne fait que pr\u00e9ciser ce qui relie <i>Port-Royal<\/i> au mod\u00e8le du roman historique et \u00e0 ses le\u00e7ons.<\/p>\n<p class=\"p1\"><strong>Vincent Laisney, <\/strong>\u00ab\u202fPeindre au vrai\u202f\u00bb. De l\u2019usage des souvenirs dans la critique.<br \/>\nSainte-Beuve n\u2019a pas \u00e9crit de Souvenirs litt\u00e9raires. Toutefois, son hostilit\u00e9 de principe \u00e0 la litt\u00e9rature m\u00e9morialiste n\u2019est pas corr\u00e9l\u00e9e \u00e0 sa pratique personnelle de l\u2019\u00e9criture du souvenir (dans ses <i>Cahiers<\/i> par exemple), ni d\u2019une mani\u00e8re plus d\u00e9routante encore \u00e0 son utilisation \u00e0 des fins critiques. S\u2019il juge tr\u00e8s s\u00e9v\u00e8rement ce genre litt\u00e9raire, il n\u2019en reconna\u00eet pas moins son utilit\u00e9 dans le cadre de sa \u00ab\u202fm\u00e9thode\u202f\u00bb. Utilis\u00e9 comme rectificateur d\u2019erreurs ou r\u00e9v\u00e9lateur de v\u00e9rit\u00e9s, le souvenir y acquiert une importance non n\u00e9gligeable. Sous r\u00e9serve qu\u2019elle soit authentifi\u00e9e, l\u2019anecdote rem\u00e9mor\u00e9e peut en effet avoir un caract\u00e8re \u00e9piphanique. Gr\u00e2ce \u00e0 elle, le critique s\u2019y voit achemin\u00e9 directement au point qu\u2019il cherche. Il a touch\u00e9 le but. Le souvenir indiscret lui permet d\u2019entrer dans la chambre secr\u00e8te de l\u2019\u00e9crivain.<\/p>\n<p class=\"p1\"><strong>Jean-Thomas Nordmann<\/strong>, Sainte-Beuve et l\u2019id\u00e9e d\u2019une histoire litt\u00e9raire de la France. <i><br \/>\n<\/i>Sainte-Beuve n\u2019a jamais \u00e9crit d\u2019histoire de la litt\u00e9rature fran\u00e7aise d\u2019un seul tenant. Il est possible n\u00e9anmoins d\u2019\u00e9difier une telle histoire \u00e0 partir de ses conf\u00e9rences, cours et articles divers regroup\u00e9s dans une perspective chronologique. Plusieurs anthologies ont r\u00e9alis\u00e9 cet objectif. Leur analyse permet de d\u00e9gager un syst\u00e8me de valeurs, esth\u00e9tiques et politiques, constitutif d\u2019une France litt\u00e9raire de centre-gauche, en contraste avec une autre France plus conservatrice.<\/p>\n<p class=\"p1\"><strong>Andrea Schellino<\/strong>, Sainte-Beuve juge de lui-m\u00eame.<i><br \/>\n<\/i>Cet article propose quelques r\u00e9flexions sur le dialogue que Sainte-Beuve entame avec son h\u00e9t\u00e9ronyme, Joseph Delorme. Deux ma\u00eetres mots semblent illustrer la d\u00e9marche autocritique de Sainte-Beuve\u202f: <i>jugement<\/i> et <i>distance<\/i>.<\/p>\n<\/div><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-1e58a6b51d13aaf163a\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-abstracts\" href=\"#tab-1e58a6b51d13aaf163a\"><h4 class=\"fusion-tab-heading\">Abstracts<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-abstracts\" id=\"tab-1e58a6b51d13aaf163a\">\n<p class=\"p1\"><span class=\"s1\"><strong>Romain Benini,<\/strong> <\/span>Verse experience in <i>V<\/i><span class=\"s1\"><i>ie, po\u00e9sies et pens\u00e9es de Joseph Delorme<\/i> <\/span><br \/>\nThis article tries to study jointly the declarations of Sainte-Beuve in the <i>Pens\u00e9es<\/i> and their application in the <i>Po\u00e9sies<\/i> <i>de Joseph Delorme<\/i>. We will try to observe what, in this first collection, belongs to the poetic manifesto, to understand how the forms he uses have their own aesthetic and we will describe as precisely as possible, especially with regard to versification, the way in which he fits into the poetic evolution of his time.<\/p>\n<p class=\"p1\"><strong>Michel Brix,<\/strong> Sainte-Beuve and the romantic criticism<br \/>\nThe figure of Sainte-Beuve remains attached to a critical way which uses the literary work to make the portrait of the man or the woman who produced it. This form of criticism was born at the end of the eighteenth century, when Rousseau\u2019s thesis was imposed in the literary field that all work refers to the context of its production, and particularly to its author. Classical criticism, on the contrary, did not shed any light on the origins of the works but was content to exclude from the literary field works which did not correspond to the rules of rhetoric. Sainte-Beuve is in the nineteenth century the most eminent representative of the new criticism which postulates that every author makes himself known in his works. Today, this conception of literature is still ours, and the reproaches that can be made against Sainte-Beuve\u2019s analyzes illustrate the limits and the aporias of our \u00ab\u202fmodernity\u202f\u00bb.<\/p>\n<p class=\"p1\"><strong>Jos\u00e9-Luis Diaz, <\/strong>Voltaire and the dialogue between Sainte-Beuve and Nisard at the \u00c9cole normale<br \/>\nHow was Voltaire taught under Napoleon III, at the \u00c9cole normale sup\u00e9rieure, of which D\u00e9sir\u00e9 Nisard was director (1857-1867) and Sainte-Beuve the lecturer (1857-1861)\u202f? The state of mind of the students is then evoked, both with regard to Voltaire and to these two academicians who supported the imperial regime. Our demonstration then compare the way Nisard teaches the subject as a trial gallop of his <i>Histoire de la litt\u00e9rature fran\u00e7aise IV<\/i>, devoted to the eighteenth century (1861), and the Voltaire that Sainte-Beuve could have taught, him who often expressed himself in his <i>Causeries du lundi <\/i>and then his <i>Nouveaux Lundis<\/i>, in a style and method at Nisard&#8217;s antipodes professorial teaching.<\/p>\n<p class=\"p1\"><strong>Marie-Catherine Huet-Brichard,<\/strong> \u00ab\u202fSainte-Beuve\u2019s \u201cthings read\u201d. Letters to Juste and Caroline Olivier (1843-1845)\u202f\u00bb<br \/>\nFrom 1843 to 1845, Sainte-Beuve writes for his friend Juste Olivier the \u00ab\u202fChroniques parisiennes\u202f\u00bb of the <i>Revue suisse<\/i>. Through this catch-all genre, which offered him flexibility and freedom of speech (his articles were unsigned), he was hoping to practice \u00ab\u202ftruth in criticism\u202f\u00bb. Combining light and serious, anecdote and commentary, gossip and analysis, short stories and literary History, he became a sociologist sensitive to fashion phenomena, always attentive to the warning signs of profound and lasting changes.<\/p>\n<p class=\"p1\"><span class=\"s1\"><strong>Patrick Labarthe,<\/strong> <\/span><i>Port-Royal<\/i> and the model of the historical novel<br \/>\nIf\u00a0History is actually the key word of Romanticism, Sainte-Beuve\u2019s ambition to write with Port-Royal the History of the greatness and decadence of a \u00ab\u202fsect\u202f\u00bb composed of \u00ab\u202fthe last main examples of men who had been the last Saints\u202f\u00bb, which leads him, from 1820, to an unceasing dialogue with the writings of History which have been elaborated before his eyes, so that Port-Royal can finally be read as a synthesis of the philosophies of History in the 19<sup>th<\/sup> century. This paper only precises what links Port-Royal to the template of the historical novel and the lessons that we can learn from it.<\/p>\n<p class=\"p2\"><strong>Vincent Laisney,<\/strong> \u00ab\u202fPeindre au vrai \u00bb. The use of <i>Souvenirs <\/i>in criticism<br \/>\nSainte-Beuve did not write any <i>Souvenirs litt\u00e9raires<\/i>. However, his hostility in principle to memorialist literature does not correlate with his personal practice of writing remembrance (in his <i>Cahiers<\/i>, for example), nor, even more confusingly, with its use for critical purposes. Although he judged this literary genre very severely, he did recognize its usefulness as part of his \u00ab\u202fmethod\u202f\u00bb. When used as a rectifier of errors or a revealer of truths, recollection acquires an importance rather considerable. As long as it is authenticated, the anecdote recalled may indeed be epiphanic in nature. Thanks to it, the critic is taken directly to the point he aims to go. He has reached the goal. The indiscreet memory allows him to enter the writer&#8217;s secret chamber.<\/p>\n<p class=\"p2\"><strong>Jean-Thomas Nordmann,<\/strong> Sainte-Beuve and the idea of a French literary history<br \/>\nSainte-Beuve never wrote a full history of French literature. Nevertheless, we can build such history by selecting extracts from his various lectures and articles, and bringing them together in a chronological viewpoint. Several anthologies achieved this task. Looking into them shows a value system, both aesthetic and political, establishing an original picture of literary France, at the beginning of a tradition leaning towards moderate left et opposed to a conservative one.<\/p>\n<p class=\"p2\"><strong>Andrea Schellino,<\/strong> Sainte-Beuve as his own judge<br \/>\nThis article offers some reflections on the dialogue that Sainte-Beuve establishes with his heteronym, Joseph Delorme. Two keywords seem to explain Sainte-Beuve\u2019s self-critical approach\u202f: <i>jugement<\/i> and <i>distance<\/i>.<\/p>\n<\/div><div class=\"nav fusion-mobile-tab-nav\"><ul class=\"nav-tabs nav-justified\" role=\"tablist\"><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-d727d4e2f863ff4023a\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-bio-bibliographiesdescontributeurs\" href=\"#tab-d727d4e2f863ff4023a\"><h4 class=\"fusion-tab-heading\">Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div><div class=\"tab-pane fade fusion-clearfix\" role=\"tabpanel\" tabindex=\"0\" aria-labelledby=\"fusion-tab-bio-bibliographiesdescontributeurs\" id=\"tab-d727d4e2f863ff4023a\">\n<p class=\"p1\"><span class=\"s1\"><strong>Romain Benini<\/strong><br \/>\n<\/span>Romain Benini est ma\u00eetre de conf\u00e9rences \u00e0 l\u2019UFR de Langue fran\u00e7aise de Sorbonne Universit\u00e9. Sp\u00e9cialiste de po\u00e9sie versifi\u00e9e, il est le co-auteur avec Fran\u00e7ois Dell de <i>La Concordance chez Racine<\/i>, \u00e0 para\u00eetre en 2020 chez Classiques Garnier.<\/p>\n<p class=\"p1\"><strong>Michel Brix<\/strong><br \/>\nDirecteur de recherches \u00e0 l\u2019universit\u00e9 de Namur, membre de l\u2019Acad\u00e9mie royale de langue et de litt\u00e9rature fran\u00e7aises de Belgique, Michel Brix a publi\u00e9 une cinquantaine d\u2019ouvrages \u2013\u202fessais et \u00e9ditions\u202f\u2013 sur la litt\u00e9rature fran\u00e7aise des XVIII<sup>e<\/sup> et XIX<sup>e<\/sup> si\u00e8cles. Il est aussi l\u2019auteur d\u2019une <i>Histoire de la litt\u00e9rature fran\u00e7aise<\/i>, de la <i>Chanson de Roland<\/i> \u00e0 Charles De\u202fGaulle (De Boeck, 2014).<\/p>\n<p class=\"p1\"><strong>Jos\u00e9-Luis Diaz\u00a0<\/strong><br \/>\nJos\u00e9-Luis Diaz est professeur \u00e9m\u00e9rite de litt\u00e9rature fran\u00e7aise du XIX<sup>e<\/sup> si\u00e8cle \u00e0 l\u2019Universit\u00e9 Paris-Diderot. Pr\u00e9sident de la Soci\u00e9t\u00e9 des \u00e9tudes romantiques et dix-neuvi\u00e9mistes, directeur du <i>Magasin du XIX<sup>e<\/sup><\/i> <i>si\u00e8cle<\/i>, il a publi\u00e9 en collaboration avec Annie Prassoloff\u202f: <i>Sainte-Beuve, Pour la critique<\/i>, Gallimard, \u00ab\u202fFolio-Essais\u202f\u00bb, 1972 et co-organis\u00e9 avec elle le colloque de Cerisy-la-Salle sur \u00ab\u202fSainte-Beuve ou l\u2019invention de la critique\u202f\u00bb, dont les actes ont paru dans <i>Romantisme<\/i> (n.\u202f3, 2000).<\/p>\n<p class=\"p1\"><strong>Marie-Catherine Huet-Brichard<\/strong><br \/>\nMarie-Catherine Huet-Brichard, professeur \u00e9m\u00e9rite de Litt\u00e9rature fran\u00e7aise (Universit\u00e9 Toulouse-Jean-Jaur\u00e8s), a travaill\u00e9 plus particuli\u00e8rement sur la po\u00e9sie romantique (Gu\u00e9rin, Sainte-Beuve, Hugo\u2026) et sur les relations entre mythe et litt\u00e9rature. Ces derni\u00e8res ann\u00e9es, elle a publi\u00e9 une biographie de Maurice de Gu\u00e9rin (Pierre-Guillaume de Roux, 2018) et particip\u00e9 \u00e0 l\u2019\u00e9dition des articles critiques de Barbey d\u2019Aurevilly (<i>Les \u0152uvres et les Hommes<\/i>, Les Belles Lettres).<\/p>\n<p class=\"p1\"><span class=\"s1\"><strong>Patrick Labarthe<\/strong><br \/>\n<\/span>Professeur \u00e9m\u00e9rite de l\u2019Universit\u00e9 de Zurich, Patrick Labarthe a publi\u00e9 notamment <i>Baudelaire et la tradition de l\u2019all\u00e9gorie <\/i>(Droz, 1999\u202f; 2015, avec une pr\u00e9face d\u2019Yves Bonnefoy), <i>Le Spleen de Paris<\/i> de Charles Baudelaire<i> <\/i>(Gallimard, \u00ab\u202fFolioth\u00e8que\u202f\u00bb, 2000)\u202f; l\u2019\u00e9dition critique du <i>Cahier brun<\/i> de Sainte-Beuve (Droz, 2017), la <i>Correspondance <\/i>I<i> <\/i>de Bonnefoy, avec Odile Bombarde (Les Belles Lettres, 2018), <i>Sainte-Beuve, une po\u00e9tique de l\u2019intime<\/i> (Droz, 2018). C\u2019est \u00e0 Bonnefoy qu\u2019il consacre ses travaux actuels\u202f: co\u00e9dition des <i>\u0152uvres po\u00e9tiques<\/i> dans la Biblioth\u00e8que de la Pl\u00e9iade, tome II de la <i>Correspondance<\/i>.<\/p>\n<p class=\"p2\"><strong>Vincent Laisney<\/strong><br \/>\nMa\u00eetre de conf\u00e9rences \u00e0 l\u2019universit\u00e9 de Paris Nanterre, Vincent Laisney est un sp\u00e9cialiste du romantisme fran\u00e7ais et des sociabilit\u00e9s litt\u00e9raires. Auteur d\u2019une th\u00e8se sur le salon de Charles Nodier (<i>L\u2019Arsenal romantique<\/i>, Champion, 2002), et d\u2019un ouvrage sur cercles litt\u00e9raires et artistiques (l\u2019\u00c2ge des c\u00e9nacles, Fayard, 2013\u202f; en collaboration avec Anthony Glinoer), il pr\u00e9pare un livre sur les Souvenirs litt\u00e9raires (1850-1950).<\/p>\n<p class=\"p2\"><strong>Jean-Thomas Nordmann<\/strong><br \/>\nAncien \u00e9l\u00e8ve de l\u2019\u00c9cole Normale Sup\u00e9rieure de la rue d\u2019Ulm, agr\u00e9g\u00e9 de lettres classiques, docteur d\u2019\u00c9tat \u00e8s lettres, Jean-Thomas Nordmann est professeur \u00e9m\u00e9rite de litt\u00e9rature fran\u00e7aise. Durant plusieurs d\u00e9cennies il a \u00e9galement enseign\u00e9 l\u2019histoire contemporaine \u00e0 l\u2019Institut d\u2019\u00c9tudes Politiques de Paris. Ses publications ont port\u00e9 principalement sur le radicalisme en France et sur l\u2019histoire de la critique litt\u00e9raire. Il a par ailleurs exerc\u00e9 divers mandats \u00e9lectifs, en si\u00e9geant notamment au Parlement europ\u00e9en pendant dix-huit ans.<\/p>\n<p class=\"p2\"><strong>Andrea Schellino<\/strong><br \/>\nAndrea Schellino est docteur de l\u2019Universit\u00e9 Paris-Sorbonne. Responsable du Groupe Baudelaire au sein de l\u2019Institut des textes et manuscrits modernes, il est ma\u00eetre de conf\u00e9rences (<i>ricercatore senior<\/i>) en litt\u00e9rature fran\u00e7aise \u00e0 l\u2019Universit\u00e9 Rome III. Auteur d\u2019une soixantaine d\u2019articles, il a publi\u00e9, en 2015, une <i>Bibliographie du Spleen de Paris<\/i> aux \u00e9ditions Classiques Garnier et, en 2017, une \u00e9dition du <i>Spleen de Paris<\/i> chez GF-Flammarion. En 2018, il a coordonn\u00e9 un num\u00e9ro de <i>L\u2019Ann\u00e9e Baudelaire<\/i>. Il a collabor\u00e9 \u00e0 l\u2019\u00e9dition des <i>Romans et nouvelles <\/i>de Joris-Karl Huysmans et il collabore actuellement \u00e0 l\u2019\u00e9dition des <i>\u0152uvres <\/i>de Victor Segalen dans la Biblioth\u00e8que de la Pl\u00e9iade.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-text fusion-text-5\"><h2><strong>Comptes rendus\/Recensioni<\/strong><\/h2>\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<div class=\"page\" title=\"Page 1\">\n<div class=\"layoutArea\">\n<div class=\"column\">\n<p class=\"p1\"><strong>A.\u202fLeupin,<\/strong> L\u2019H\u00e9r\u00e9sie po\u00e9tique. Du Moyen \u00c2ge \u00e0 la modernit\u00e9 (J. P.\u202fMadou)\u2003\u2003\u2003\u2003\u2003<span class=\"s1\">.\u2003\u2003\u2003\u2003\u2003\u2003\u2003\u2003\u2003<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><strong>C.\u202fLebrec,<\/strong> Combinatoires ludiques\u202f: litt\u00e9rature, contrainte et math\u00e9matique (M.\u202fLapprend)\u2003\u2003\u2003\u2003\u2003\u2003\u2003<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><strong>B.\u202fAnglani,<\/strong> \u00ab\u202fSans issue\u202f\u00bb. Commento all\u2019\u200a\u00c9tranger di Camus (M.\u202fC.\u202fGnocchi)\u2003\u2003\u2003\u2003\u2003\u2003\u2003\u2003\u2003\u2003\u2003\u2003\u2003\u2003<\/span><\/p>\n<p class=\"p1\"><span class=\"s1\"><strong>T.\u202fLaget,<\/strong> Proust, prix Goncourt. Une \u00e9meute litt\u00e9raire\u202f; <em>\u00c0 l\u2019ombre des jeunes filles en fleurs<\/em> et le prix Goncourt 1919, Dossier de presse constitu\u00e9 par T.\u202fLaget (M.\u202fBertini)\u2003\u2003\u2003\u2003\u2003\u2003\u2003\u2003\u2003\u2003\u2003<\/span><\/p>\n<p class=\"p4\"><span class=\"s1\"><strong>E.\u202fKa\u00ebs,<\/strong> Proust \u00e0 l\u2019\u00e9cole (I.\u202fVidotto)<\/span><\/p>\n<h2><strong>Notes de lecture\/Schede<\/strong><\/h2>\n<p><span style=\"font-size: 16px;\">Pubblicato con contributi <\/span>del Labex Obvil (Observatoire de la vie litt\u00e9raire) di Sorbonne Universit\u00e9 e del <span style=\"font-size: 16px;\">Dipartimento di Lingue, Letterature e Culture Moderne dell&#8217;Universit\u00e0 di Bologna.\u00a0<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<p class=\"p1\"><strong><span class=\"s1\">ISBN <\/span>978 88 222 67344<\/strong><\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><div class=\"fusion-fullwidth fullwidth-box fusion-builder-row-5 nonhundred-percent-fullwidth non-hundred-percent-height-scrolling\" style=\"--awb-border-radius-top-left:0px;--awb-border-radius-top-right:0px;--awb-border-radius-bottom-right:0px;--awb-border-radius-bottom-left:0px;--awb-background-color:rgba(224,224,224,0.95);--awb-flex-wrap:wrap;\" ><div class=\"fusion-builder-row fusion-row\"><div class=\"fusion-layout-column fusion_builder_column fusion-builder-column-4 fusion_builder_column_1_1 1_1 fusion-one-full fusion-column-first fusion-column-last\" style=\"--awb-bg-size:cover;\"><div class=\"fusion-column-wrapper fusion-flex-column-wrapper-legacy\"><div class=\"fusion-text fusion-text-6\"><h2 style=\"text-align: center;\"><strong>Revue de presse\/ Rassegna stampa<\/strong><\/h2>\n<\/div><i class=\"fb-icon-element-1 fb-icon-element fontawesome-icon fa-link fas circle-yes fusion-text-flow\" style=\"--awb-circlecolor:#278157;--awb-circlecolor-hover:#278157;--awb-circlebordersize:1px;--awb-font-size:28.16px;--awb-width:56.32px;--awb-height:56.32px;--awb-line-height:54.32px;--awb-margin-right:16px;\"><\/i><div class=\"fusion-text fusion-text-7\"><p><a href=\"https:\/\/mondesfrancophones.com\/espaces\/litteratures\/sainte-beuve-lecole-normale-et-joseph-delorme-un-numero-de-francofonia\/\">\u00ab\u00a0Sainte-Beuve, L\u2019Ecole Normale et Joseph Delorme \u00bb par Michel Lercoulois dans Le Blog de <em>Mondes francophones, revue mondiale des francophonies<\/em>,\u00a04 f\u00e9vrier 2021<\/a><\/p>\n<\/div><div class=\"fusion-clearfix\"><\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"<h3 style=\"text-align: center;\" data-fontsize=\"34\" data-lineheight=\"47\"><em><strong>Sainte-Beuve entre la litt\u00e9rature, la critique et l&#8217;histoire<\/strong><\/em><\/h3>\n<p align=\"center\">sous la direction de Romain Jalabert et Andr\u00e9 Guyaux<\/p>\n","protected":false},"author":2,"featured_media":2438,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2420","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rivista"],"_links":{"self":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/2420","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/comments?post=2420"}],"version-history":[{"count":10,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/2420\/revisions"}],"predecessor-version":[{"id":2498,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/2420\/revisions\/2498"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media\/2438"}],"wp:attachment":[{"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media?parent=2420"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/categories?post=2420"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/tags?post=2420"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}