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[null,"1.","Record Nr.",null,"UNINA9910629397203321"]
[null,null,"Autore",null,"Aude Nicolas"]
[null,null,"Titolo",null,"Les aveux imaginaires : Scénographie de la confession dans le roman (Angleterre, France, Russie) / / Nicolas Aude"]
[null,null,"Pubbl/distr/stampa",null,"Lyon, : ENS Éditions, 2022"]
[null,null,"ISBN",null,"979-1-03-620582-8"]
[null,null,"Descrizione fisica",null,"1 online resource (358 p.)"]
[null,null,"Collana",null,"Signes"]
[null,null,"Soggetti",null,"Literature (General)"]
[{"$nulls":4},"confession"]
[{"$nulls":4},"mystère"]
[{"$nulls":4},"espace public"]
[{"$nulls":4},"intime"]
[{"$nulls":4},"scénographie"]
[{"$nulls":4},"mystery"]
[{"$nulls":4},"public space"]
[{"$nulls":4},"intimacy"]
[{"$nulls":4},"scenography"]
[null,null,"Lingua di pubblicazione",null,"Francese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Sommario/riassunto","À partir de la fin du XVIIIe siècle, les mises en scène fictionnelles de l’aveu se multiplient. Cet ouvrage s’intéresse à la scène romanesque de confession telle qu’on la trouve représentée chez six autrices et auteurs issus des espaces anglais, français et russe : Ann Radcliffe, George Sand, Charlotte Brontë, Fédor Dostoïevski, Maxime Gorki et Georges Bernanos. La comparaison invite à se déprendre des catégories traditionnelles de l’histoire littéraire. En s’inscrivant dans une seule et même dynamique narrative, celle du roman à mystères, cette scénographie vient révéler plusieurs contradictions du partage public-privé-intime en contexte de création postromantique. Envisagée au prisme d’une histoire culturelle de l’aveu, une telle mosaïque de textes ne doit pas manquer d’entrer en résonance avec la prolifération hypermoderne des mises en scène de soi. Les paradoxes de leurs aveux imaginaires deviennent ainsi nos paradoxes.  This book examines the proliferation of self-disclosures that has occurred in European fiction "]
[{"$nulls":4},"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."]