{"id":1191,"date":"1998-03-11T11:40:09","date_gmt":"1998-03-11T10:40:09","guid":{"rendered":"http:\/\/www.lilec.it\/francofonia\/?p=1191"},"modified":"2017-03-29T12:38:58","modified_gmt":"2017-03-29T10:38:58","slug":"34-1998","status":"publish","type":"post","link":"https:\/\/www.lilec.it\/francofonia\/34-1998\/","title":{"rendered":"34 Printemps \/ Primavera 1998"},"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\">34<\/div><\/div><\/div><\/div><\/strong><strong>Printemps \/ Primavera 1998<\/strong><\/h2>\n<h2 style=\"text-align: center;\"><em>In ricordo di Marie-Louise Lentengre e Paola Vecchi<\/em><\/h2>\n<p style=\"text-align: left;\"><a href=\"http:\/\/www.jstor.org\/stable\/i40116681\" target=\"_blank\"><img decoding=\"async\" class=\"alignleft wp-image-321\" src=\"http:\/\/www.lilec.it\/francofonia\/wp\/wp-content\/uploads\/2017\/03\/JSTOR_Logo_RGB_60x76-1.gif\" alt=\"\" width=\"46\" height=\"59\" \/><\/a><\/p>\n<p style=\"text-align: left;\"><a href=\"http:\/\/www.jstor.org\/stable\/i40116681\" target=\"_blank\">Lire ce num\u00e9ro sur JSTOR<\/a><br \/>\n<a href=\"http:\/\/www.jstor.org\/stable\/i40116681\" target=\"_blank\">Leggere questo numero su JSTOR<\/a><\/p>\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-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-border-sizes-top:0px;--awb-border-sizes-bottom:0px;--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 \/ 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>Liano Petroni<\/strong>, Congedo<\/p>\n<p><strong>Adriano Marchetti<\/strong>, Aux lecteurs<\/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-ed9f94398ac019b1fc8\" aria-selected=\"true\" id=\"fusion-tab-articles\" href=\"#tab-ed9f94398ac019b1fc8\"><h4 class=\"fusion-tab-heading\">Articles<\/h4><\/a><\/li><li role=\"presentation\"><a class=\"tab-link\" data-toggle=\"tab\" role=\"tab\" aria-controls=\"tab-f881b76db8c53770ffc\" aria-selected=\"false\" tabindex=\"-1\" id=\"fusion-tab-r\u00e9sum\u00e9s\" href=\"#tab-f881b76db8c53770ffc\"><h4 class=\"fusion-tab-heading\">R\u00e9sum\u00e9s<\/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-ed9f94398ac019b1fc8\" aria-selected=\"true\" id=\"mobile-fusion-tab-articles\" href=\"#tab-ed9f94398ac019b1fc8\"><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-ed9f94398ac019b1fc8\">\n<p><strong>Paolo Budini<\/strong>,\u00a0Le jeu de la pr\u00e9cision et de la m\u00e9prise. Une relecture de<em> La Modification <\/em>de Michel Butor<\/p>\n<p><strong>Gilles Dupuis<\/strong>,\u00a0\u00abPo\u00e9tique de la d\u00e9rive\u00bb dans les romans de Jacques Poulin<\/p>\n<p><strong>Ana Soler<\/strong>,\u00a0<em>Jehan et Blonde <\/em>de Philippe de Remi: l\u2019amour contrari\u00e9 et l\u2019affirmation d\u2019un h\u00e9ros nouveau<\/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-f881b76db8c53770ffc\" aria-selected=\"false\" tabindex=\"-1\" id=\"mobile-fusion-tab-r\u00e9sum\u00e9s\" href=\"#tab-f881b76db8c53770ffc\"><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-f881b76db8c53770ffc\">\n<p><strong>Paolo Budini<\/strong>,\u00a0Le jeu de la pr\u00e9cision et de la m\u00e9prise. Une relecture de<em> La Modification <\/em>de Michel Butor<br \/>\nQuarante ans apr\u00e8s la parution de\u00a0<em>La Modification<\/em>\u00a0(1957), cette relecture du roman de Butor, devenu d\u00e8s le premier abord un classique, se propose de reprendre le fil du discours que la critique a tress\u00e9 au cours des ann\u00e9es, autant sur l&#8217;aspect formel de l&#8217;ouvrage que sur la th\u00e9matique qu&#8217;il d\u00e9veloppe et sur la parole qui traduit l&#8217;invention de l&#8217;auteur.<\/p>\n<p><strong>Gilles Dupuis<\/strong>,\u00a0\u00abPo\u00e9tique de la d\u00e9rive\u00bb dans les romans de Jacques Poulin<br \/>\nLes romans de Jacques Poulin se laissent lire en apparence comme des \u0153uvres sans pr\u00e9tention. Chaque roman constitue un microcosme qui semble se refermer sur lui-m\u00eame. Mais lus dans leur ensemble et dans l&#8217;ordre chronologique de leur parution, les six premiers romans de Poulin r\u00e9v\u00e8lent une complexit\u00e9 en devenir qui atteste \u00e0 son tour l&#8217;existence d&#8217;une \u00abpo\u00e9tique de la d\u00e9rive\u00bb. Deux trilogies distinctes, mais intimement li\u00e9es par des processus de condensation et de d\u00e9placement propres au travail du r\u00eave, \u00e9mergent \u00e0 la lecture critique de ces romans. En faisant appel aux conceptions philosophique et psychanalytique que proposent D. Klebaner et J. Lacan de la d\u00e9rive, ainsi qu&#8217;aux concepts freudiens qui se rattachent \u00e0\u00a0 la logique du r\u00eave et de l&#8217;inconscient, c&#8217;est le fonctionnement de cette po\u00e9tique qui est ici mis en lumi\u00e8re \u00e0 travers les r\u00e9seaux onomastique et relationnel des personnages pouliniens.<\/p>\n<p><strong>Ana Soler<\/strong>,\u00a0<em>Jehan et Blonde <\/em>de Philippe de Remi: l\u2019amour contrari\u00e9 et l\u2019affirmation d\u2019un h\u00e9ros nouveau<br \/>\nApr\u00e8s une approche des circonstances socio-politiques et culturelles qui contribu\u00e8rent \u00e0 l&#8217;av\u00e8nement du \u00abroman\u00bb, cet article aborde l&#8217;\u00e9tude du genre auquel appartient\u00a0<em>Jehan et Blonde<\/em>\u00a0de Philippe de Remi: le \u00abroman\u00bb d&#8217;aventure. Cette \u0153uvre, entre autres, s&#8217;inscrit dans le courant r\u00e9aliste dont Jean Renart est consid\u00e9r\u00e9 comme le plus grand repr\u00e9sentant. Quatre axes s\u00e9mantiques forment la structure de\u00a0<em>Jehan et Blonde<\/em>: la naissance de l&#8217;amour, la rupture de l&#8217;harmonie initiale, la mise \u00e0 l&#8217;\u00e9preuve des rivaux et le mariage comme apoth\u00e9ose. L&#8217;\u00e9thique personnelle de l&#8217;auteur s&#8217;appr\u00e9cie dans la mentalit\u00e9 \u00e9galitaire et revendicative pr\u00e9sente dans l&#8217;\u0153uvre, notamment dans le r\u00f4le de la femme et dans la \u00abd\u00e9sacralisation\u00bb du h\u00e9ros.<\/p>\n<\/div><\/div><\/div><div class=\"fusion-text fusion-text-5\"><h2>Notes et commentaires\/Note e rassegne<\/h2>\n<p><strong>Elena Pessini<\/strong>,\u00a0<em>Hadriana dans tous mes r\u00eaves <\/em>de Ren\u00e9 Depestre, ou comment on gu\u00e9rit un zombi<\/p>\n<p><strong>Sonia Zarotti<\/strong>,\u00a0Entretien avec Ren\u00e9 Depestre<\/p>\n<p><strong>Martine Jacquot<\/strong>,\u00a0L\u2019h\u00e9ro\u00efne fin de si\u00e8cle: l\u2019\u00e9vasion, entre le voyage et l\u2019\u00e9criture<\/p>\n<p><strong>Helene Cussac<\/strong>,\u00a0L\u2019espace pomp\u00e9ien dans<em> Arria Marcella<\/em><\/p>\n<h2>Comptes rendus\/Recensioni<\/h2>\n<p><em>Percorsi intertestuali, a\u00a0<\/em>cura di <strong>G. Bogliolo<\/strong> (Silvia Franceschi)<\/p>\n<p><strong>C. Biondi<\/strong>,\u00a0<em>Marguerite Yourcenar ou la qu\u00eate de perfectionnement\u00a0<\/em>(Patrizia Oppici)<\/p>\n<p><strong>A. Vitez<\/strong>,\u00a0<em>Ecrits sur le th\u00e9\u00e2tre, I. L\u2019Ecole;\u00a0<\/em><strong>A. Vitez<\/strong>,\u00a0<em>Album\u00a0<\/em>(Gianni Poli)<\/p>\n<p><strong>\u00c9. Lys\u00f8e<\/strong>,\u00a0<em>Les Kermesses de l\u2019Etrange ou Le Conte fantastique en Belgique du romantisme au symbolisme\u00a0<\/em>(Maria Teresa Moia)<\/p>\n<p><strong>Th. Gautier<\/strong>,\u00a0Italia Voyage en Italie<em>, pr\u00e9sent\u00e9 et annot\u00e9 par Marie-H\u00e9l\u00e8ne Girard\u00a0<\/em>(Gaudenzio Boccazzi)<\/p>\n<h2>Notes de lecture\/Pubblicazioni ricevute e schede<\/h2>\n<h2>Actualit\u00e9s\/Notiziario<\/h2>\n<p>Pubblicato con\u00a0contributi del Ministero dell\u2019Universit\u00e0 e della Ricerca Scientifica e Tecnologica, e dell\u2019Universit\u00e0 di Bologna. Lavori eseguiti con un contributo del C.N.R. e della Fondazione Cassa di Risparmio in Bologna.<\/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>Num\u00e9ro libre<\/strong><\/em><em><strong><sup><\/sup><\/strong><\/em><\/h3>\n","protected":false},"author":2,"featured_media":1361,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1191","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rivista"],"_links":{"self":[{"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/1191","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/comments?post=1191"}],"version-history":[{"count":7,"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/1191\/revisions"}],"predecessor-version":[{"id":1870,"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/posts\/1191\/revisions\/1870"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media\/1361"}],"wp:attachment":[{"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/media?parent=1191"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/categories?post=1191"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lilec.it\/francofonia\/wp-json\/wp\/v2\/tags?post=1191"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}