Wishing to contribute to the brief history of title science, I would argue that the difference in terminology between “secondary title” and “subtitle” is too weak for the mind to grasp; and since, as Duchet has noted, the principal feature of his “subtitle” is to contain a more or less explicit generic indication, it would be simpler and more vocative to rebaptize it as such, thereby freeing the term “subtitle” to resume its usual present meaning. Hence these three terms: “title” (...) , “subtitle” , “generic indication” . This is the most complete state of a de facto system in which the only mandatory element, in our present culture, is the first one. Nowadays, we find most frequently incomplete combinations, such as title plus subtitle or title plus generic indication —without counting the really simple titles that are reduced to the single “title” element, without subtitle or generic indication, such as Les Mots or, a little differently, statements such as the following, clearly parodic: Victor Shklovskii, Zoo / Letters not about Love / or The Third Heloise. Gérard Genette is professor of history and theory of literary forms at the École des Hautes Études en Sciences Sociales. His principal works in French include Figures , Figures II , Figures III , Introduction à l’architexte , Nouveau discours du récit , and, most recently, Seuils . Bernard Crampé is assistant professor of romance languages and literatures at the University of Chicago. His principal work is in the history of rhetoric. (shrink)

Gérard Genette parle fort peu de questions spatiales dans ses discours sur le récit. Il s’en est justifié en arguant que l’espace narratif constitue une catégorie de contenu plutôt que de forme. Cependant, cet espace s’avère souvent narrativement pertinent pour des raisons qui ne sont pas thématiques et, tout en restant fidèle à Genette, on peut caractériser narratologiquement les potentialités spatiales du récit. Cela suggère que le désintérêt de Genette narratologue pour ce domaine est lié non (...) seulement à un choix d’objet et à des questions de méthode mais aussi à des raisons plus individuelles : si Genette est bien « l’homme de l’espace », il l’est toujours du dehors, loin de tout colmatage et de toute rigidité. (shrink)

Depuis le début de ce siècle, l'art et la littérature n'ont cessé de déborder leurs limites et de bousculer leurs catégories. Cette démarche radicale a contribué, en retour, à réveiller une théorie jusqu'alors quelque peu engourdie dans des conceptions héritées de la fin du XVIIIe siècle, aux confins des âges classique et romantique. Les études ici réunies témoignent de ce renouveau de l'esthétique, particulièrement dans la philosophie de tradition analytique. Leur trait commun est le caractère relativiste de leurs critères. Les (...) "symptômes" de la relation artistique sont de l'ordre de l'usage, de la circonstance, de la fonction : il n'y a d'oeuvre qu'à la rencontre d'une intention et d'une attention. Pour le public comme pour les créateurs, l'art est aussi une pratique. (shrink)

Gérard Genette a joué un rôle important lors de l’établissement de la méthode structurale en France et ailleurs. Néanmoins ses œuvres – à la différence de celles de Roland Barthes ou Tzvetan Todorov par exemple – ont été reçues en Allemagne avec un grand retard. Pour expliquer ce phénomène, l’article présente la situation d’outre-Rhin en esquissant dans ses grandes lignes l’évolution de la narratologie allemande jusqu’à ses racines dans la « morphologie » goethéenne. Une esquisse qui aboutit à (...) une étude contrastive et qui, finalement, permet de mieux comprendre les raisons principales pour le retardement d’une réception mais aussi pour l’attractivité persistante du système conceptuel de Genette pour la discussion allemande. (shrink)

Le roman proustien est une référence constante chez Genette. Cet article prend comme point de départ sa théorie du récit élaborée à partir de À la recherche du temps perdu dans Discours du récit, puis dans Nouveau Discours du récit et Fiction et Diction. Si Genette part du particulier (l’œuvre de Proust) pour aller vers le général (sa théorie narratologique), je me demanderai, en allant du général vers le particulier, en quoi son analyse narrative nous permet une meilleure (...) compréhension de l’œuvre de Proust. Pour montrer comment la poétique peut devenir complémentaire de la critique, j’étudie le cas de Paul Ricœur, qui s’est lui aussi penché sur la question du temps et du récit, pour montrer comment il a intégré la théorie de Genette dans une herméneutique littéraire, en déplaçant l’accent du texte vu comme une structure vers « le monde du texte ». (shrink)

Gérard Genette occupe une « situation » intermédiaire entre les avant-gardes théoriques des années 1960 et l’histoire littéraire de la tradition lansonienne à la Sorbonne, où il avait commencé sa carrière académique, avant d’amorcer un « tournant rhétorique » dans la filiation de Valéry et de Paulhan. Enseignant la poétique à l’EPHE et à l’EHESS, il a contribué à renouveler profondément la théorie littéraire en France dans les années 1960, aux côtés de Barthes, Todorov, Jakobson et Michel Charles.

La collecte des fonds Raymonde Debray-Genette et Gérard Genette témoigne de l’importance de mobiliser des compétences à la fois scientifiques et archivistiques dans ce type d’entreprise mémorielle. Les archives Genette, ensemble de documents produits sur support papier et sur support numérique, ont en effet été sauvées au lendemain de la disparition de Gérard Genette par le service des archives de l’EHESS avec le support du Centre de recherches sur les arts et le langage. L’article (...) présente les phases du travail, de la découverte des archives à leur mise en carton pour classement en vue de leur mise à disposition au Grand équipement documentaire du Campus Condorcet. Il propose en outre des pistes de réflexion sur les procédures de l’archivage des documents produits par les chercheurs en sciences humaines et sociales. (shrink)

Dans cet article nous proposons une analyse d’un aspect peu évoqué du parcours de Genette, son séminaire de l’EHESS-Paris. Genette n’a pas explicité sa méthode, mais il avait constaté dans les années 1960 que l’enseignement universitaire était considéré comme une pratique neutre, et même un tabou, qui demandait à être historicisée et comprise dans sa portée idéologique. À partir d’une description des rituels et des modalités de son enseignement, nous analyserons le caractère spécifique de sa méthode de formation (...) à la recherche, en soulignant sa relation avec la tradition de l’EHESS. (shrink)

교사는 도덕과 수업을 위해 도덕과 교육과정을 구체화한 도덕과 교과서를 연구한다. 연구의 주된 목적은 도덕과 교과서를 해석의 텍스트로 활용하여 교육과정을 가르치기 위해서이다. 해석 텍스트로서 도덕과 교과서는 교과서 저자들이 도덕과 교육과정을 주제로 서술한 일종의 서사이다. 다른 서사 텍스트와 달리 저자성이 축소된 도덕과 교과서는 텍스트에 초점을 두는 서사 이론의 관점에서 읽을 수 있다. 구조주의 서사이론은 텍스트에 초점을 두면서 작품의 의미가 발생하는 전반적 구조를 밝힌다. 본 연구에서는 구조주의 서사이론의 고전으로 평가되는 주네트의 『서사담론』을 중심으로 그의 이론을 정리하고, 그 정리에 터하여 도덕과 교과서라는 서사담론을 분석한다. 이를 (...) 통해 도덕과 교과서 단원의 전체적 서사구조는 도덕과 목표 및 수업에 관한 지배적 경향을 ‘비초점화’ 관점에서 ‘겉 이야기’의 서술자가 피서술자에게 요약하는 목소리로 말하고 있음을 확인할 수 있다. 또한 교과서 저자의 서사행위에서도 ‘겉 이야기-이종이야기’ 서술자가 ‘겉 이야기’의 피서술자에게 ‘비초점화’ 관점에서 말하는 형식을 확인할 수 있다. 그리고 각 차시를 구성하는 주요 서사에서는 내포 독자가 실제 독자와 동일시됨을 확인할 수 있다. 이러한 특성들은 교과서 서술자가 실제 독자에게 설명하고 설득하는 형식에 가깝다. 따라서 도덕과 교과서의 개선을 위해서는 현행 교과서에 나타난 주된 서사 형식의 변경 방안을 모색해야 한다. (shrink)

Cet article propose de revenir à la très influente théorie de la métalepse élaborée par Gérard Genette entre 1972 et 2004. Est mis en valeur et discuté l’élargissement progressif de la notion auquel Genette procède, à la faveur du passage de la narratologie aux théories de la fiction et de l’adoption d’une perspective intermédiale. Il est montré que les ambiguïtés présentes dès Discours du récit, en 1972 (qui résident principalement dans l’équivoque entre les niveaux du récit et (...) la frontière entre réalité et fiction) ne font que s’amplifier au point de faire disparaître, en fin de compte, et les frontières de la fiction et les contours du concept de métalepse. Genette accentue ainsi une tendance majeure de notre époque. (shrink)

Parmi les nombreux outils légués par Gérard Genette, on étudie ici la possibilité d’un « Discours du récit interactif » en s’appuyant sur la pratique des jeux de rôle sur table. Les questions de focalisation et de voix y acquièrent une complexité nouvelle du fait que chacun des participants reçoit les informations diégétiques et s’exprime soit en qualité de joueur, soit en tant que personnage fictionnel. L’improvisation narrative en groupe restreint favorise par ailleurs la manifestation de métalepses et (...) la circulation de messages intertextuels. L’analyse permet de proposer en retour des critères pour évaluer la « métaleptogénicité » et la « palimpsestuosité » d’autres formes narratives. (shrink)

In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship (...) between Genette’s and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

À suivre Gérard Genette, son passage de la critique littéraire à la poétique, puis de celle-ci à l’esthétique résulterait d’un « processus génétique en quelque sorte oblique », d’une « filiation collatérale » qui voit le détail d’un livre devenir le sujet du suivant. Un retour sur son parcours fait apparaître que l’enchaînement métonymique est lissé par le tuilage des moments : ceux-ci, pour être focalisés, n’en sont pas moins cumulatifs. Mieux, même, au fil du temps, dans la (...) dynamique cumulative d’un œuvre complet in progress, le principe de cohérence se sera appliqué non seulement à l’idéalité des textes, mais à la physicalité qui détermine le régime d’immanence de la littérature. On peut voir dans « Du texte à l’œuvre », « exercice d’autodiction préposthume » qui ouvre Figures IV, en 1997, plus que le simple bilan d’un chercheur, fût-il de grande envergure, dressant le bilan de son parcours au soir de sa carrière : sous couleur de rendre compte des liens qui unissent ses livres, il s’agit ni plus ni moins de montrer en quoi les textes qu’il a publiés constituent une œuvre. (shrink)

La focalisation, introduite par Gérard Genette dans Discours du récit, fait partie des concepts narratologiques les plus discutés par les narratologues. En s’appuyant sur des exemples tirés de la bande dessinée, cet article vise à clarifier les rapports, et l’éventuelle complémentarité, entre la conception genettienne de la perspective narrative et des approches alternatives, qui se sont penchées sur la construction des effets de subjectivité dans le récit. Il s’agit aussi de mettre en lumière l’applicabilité transmédiale et la dimension (...) rhétorique de la focalisation telle que la concevait Genette, de manière à souligner son actualité, laquelle passe par une mise à jour critique continue de la réflexion ouverte il y a bientôt cinquante ans. (shrink)

According to Gérard Genette, the chief function of an authorial preface is to ensure that the text is read properly. In other words, the purpose of the preface is to attract the reader’s attention and to steer him or her toward a particular understanding of the book. A preface, then, aims to get readers to read the book and often on certain terms, i.e., the author’s. As such, the authorial preface of Marx’s Capital (1867) is especially important — (...) it allows us to understand how Marx himself hoped to be understood by his readers. Commentators, whether hostile or sympathetic, usually focus on the postface to the second edition of Marx’s work. We will instead focus on the preface to the first edition, as to uncover Marx’s immediate political aims and ethical concerns. (shrink)

In the ontology of the artwork and its regimes of existence, Gérard Genette gives but little room to the theory and practice of restoration. However, restoration is seen in relation to the identity of the work itself and to its material and pragmatic temporality and anachronism. In the wake of Nelson Goodman, it is also understood as a form of actuation and implementaion of the aesthetic experience. Starting from these premises, the present essay intends to examine the relationship (...) between Genette’s and Daniel Arasse’s reflections on restoration and the history of art, highlighting their similarities and differences with Cesare Brandi’s theory of restoration and, therefore, pointing out their as yet undischarged debts to Sartre’s phenomenology of image. (shrink)

This paper explores some issues concerning the ontology of photography. It would appear that photography’s ontology bears some significant specificities comparing with other art forms. First, the study of negative film and printed photograph relations shows us that photography has a multi-layered ontology, since although the latter is ontologically dependent upon the former, it stands autonomously as work of art. Second, I will consider the problem of forgery in photography. It seems that photographs are autographic and allographic, fakeable and unfakeable. (...) Third, ontological status of negative film will be explored. Apparently, current ontological categories aren’t pertinent as far as negative-photograph’s ontology is concerned. That’s why, relying on Gérard Genette ontological notions, I propose to consider the negative film as «immanence» and the printed photograph as work’s «transcendence». In this regard, printed photograph functions as a manifestation of the negative film. (shrink)

El presente ensayo pretende mostrar cómo la obra novelística de Javier Marías puede ser vista a la luz de la teoría de Gérard Genette sobre la transtextualidad, es decir lo que también se conoce como palimpsesto. Se mostrará que dicha transtextualidad se da principalmente entre las novelas Mañana en la batalla piensa en mí, Corazón tan blanco y Negra espalda del tiempo y las obras de Shakespeare, Ricardo III, Macbeth y La tempestad, respectivamente, producto, tal vez, de la (...) conocida anglofilia de Marías. (shrink)

Bruun and Hansen claim that Kierkegaard decided to publish Two Ethical-Religious Essays on commission with Gyldendal so as not to be linked to the penname H.H. Elsewhere, however, Kierkegaard indicates that the Essays, although they stand outside of the authorship, are to be understood in relation to it. Furthermore, Bruun and Hansen do not explain why Kierkegaard chose Gyldendal and not some other house. Drawing on Gérard Genette’s concept of the peritext, I argue that it was Gyldendal’s reputation (...) as a leading theological publisher that led Kierkegaard to select it for a work demarcating the boundary of his authorship. (shrink)

This thesis is concerned with the ways in which meaning is generically mediated in the novel. In particular it addresses the productive diversity of meanings generated by critical interpretation and asks how, given this diversity, comprehension and consensus might be possible. I argue that the construction of subject, object, space and time is achieved in the novel through different manifestations of four key metaphors: voice, view, setting and event. These metaphors supply meanings that rely on a common experience of embodiment. (...) Embodiment supplies the basis for an intersubjectively established consensus which identifies subjects and objects in terms that correspond to the semiotic, syntagmatic and semantic uses of metaphor. I begin by surveying and reviewing certain constructionist accounts of language and meaning in order to establish the importance of metaphor in conveying meaning in rhetorical, rather than linguistic, terms. I then discuss two examples of continental philosophy on speech: Derrida on voice and Foucault on discourse. I demonstrate how meaning is rhetorically constructed according to the use to which metaphors are put—whether they denote formal, semantic, or functional aspects of meaning—through an explication of Foucault’s theory, reserving Derrida’s grammatology for my analysis of the stabilisation of meaning in the theory of certain narratologists (Gérard Genette and Marie-Laure Ryan). Voice and view are key terms in literary theory, and I examine refinements to these metaphors in Genette and Ryan. The insistence of these narratologists on restricting the rhetorical dimension of meaning undermines the value of the literary work, prompting me to argue for a relaxing of such constraints. I read Peter Carey’s True History of the Kelly Gang for its uses of voice and point of view, many of which expose the limitations of the narratological approach. This is a theoretical thesis, which engages a wide range of perspectives—constructionist, deconstructionist, sociological and structuralist—together with their various accounts of language, metaphor, speech and meaning. In terms of sociological approaches to genre and discourse, I employ the chronotope as a critical tool, examining it in the context of the theme of the country house to demonstrate the role of two of my key metaphors, setting and event, which are important for the construction of space and time in abstract terms. Focusing on novels by Jane Austen, Virginia Woolf, and Kazuo Ishiguro, in which the country house defines the space and the temporality through which thematic and “material” elements are mediated, I reveal how the chronotope supplies an overarching coherence that unites thought and event in narrative. My readings of these novels describe a theory that is concerned with the rhetorical capacities of genre rather than with taxonomic constructions of form. To this end I argue that the metaphorical dimensions of narrative—voice, view, setting and event—be loosely drawn, according to the acknowledged mutability of genre. I also emphasise the constructive effect of metaphor whilst according it a rhetorical versatility consistent with the mutability and instability of genre as a semiotic tool, concluding that consensus is achieved in our readings of novels through the form’s reliance on these four key metaphors of embodiment. These metaphors have ordinary, everyday, widespread usage beyond narrative theory; in appreciating their rhetorical value, it must be noted nonetheless that any confusion that ensues is productive, for it results in the diversities of meaning and form celebrated in the literary work. (shrink)

Que reste-t-il du "sujet", en littérature, après le retrait du structuralisme? C'est la question que pose ce livre, qui, dans le compte tenu de l'héritage théorique des années 1960-1970, cherche à préciser le statut d'un sujet qui insiste dans les discours critiques contemporains (Compagnon, Clément, Macé) aussi bien que dans les tentatives littéraires récentes (Beck, Deguy, Michon). Trois études articulées, qui sont autant d'expériences de lecture, tentent ici de répondre à cette interrogation : la première, "L'exception du sujet", se propose (...) de relire les psychanalyses existentielles de Sartre ; la seconde, "Poétique et vérité", entre en dialogue avec la lecture d'A la recherche du temps perdu par Gérard Genette ; la troisième, "Prose de soi", s'essaie à décrire la singularité de l'autofiction rimbaldienne, telle qu'elle s'avive dans Une Saison en enfer, et notamment dans sa section prosimétrique, "Alchimie du verbe". Au terme du parcours, une hypothèse : c'est dans l'articulation critique entre la littérature et son commentaire que la forme restante du sujet trouve son lieu paradoxal. (shrink)

This article presents the emergent findings of research conducted in Iran. It’s main objective was to investigate whether adolescents' thinking could turn polyphonic in CPI and what processes, thinking would go through to achieve this objective. Seventeen adolescents, ten girls, and seven boys participated in fourteen sessions with three iranian and three foreign novels as the materials of inquiry. The sessions were videotaped and analyzed by the researchers. The findings discovered out of pre-determined objectives revealed that CPI was effective in (...) developing adolescents' polyphonic thinking, and polyphonic thinking processes at work were also revealed. At the same time, some unexpected data emerged which gave rise to some emergent findings, among which was that meaning-making is not limited to what happens “inside” the CPI, but some events before, after, and during the sessions are decisive in meaning-making within this communal circle and formation of CPI. We named them ‘paratexts’ of CPI that included WhatsApp chats, religious, educational, scientific, and gender discourses, the extension of issues discussed at CPI to school and home, adolescent dialogues before and after the sessions, and their reading of philosophical ideas and literary commentaries on the materials of inquiry. Gérard Genette, giving currency to the term ‘paratext’, conceives of it as an undefined zone between the inside and the outside of a printed work that forms the complex mediation between book, author, publisher, and reader. It is a border zone in which text and off-text enter dialogue the paratexts associated with CPI directed us to reconfigure the practice in reconsideration of the facilitator’s roles and positions. On this account, the facilitator is someone who needs to be able to actively listen both to the voices of the group members and the voices of existing paratexts, and to manoeuvre between multiple roles and positions as the situation demands. (shrink)

This article compares the poetics of Marcel Proust's A la recherche du temps perdu and Jean-Luc Godard's Histoire du cinéma in order to realign our understanding of metaphor, metonymy and montage with the inter-formal dialogues that new media artworks increasingly demand of audiences. An analysis of Godard's ‘quotation’ of Proust's words and ideas from Le Temps retrouvé sets out an explicit rivalry between text and image. However, drawing on formalist and structuralist approaches to both literature and cinema, including Roman Jakobson (...) and Gérard Genette, as well as more recent discussions developed by Gilles Deleuze and Lev Manovich, I will argue that the nature of the image manifested in both artworks corresponds to a shared aesthetic that exceeds distinctions between word and image, literature and video. (shrink)

Charles Peirce's semiotics explains James Joyce's Ulysses' cognitive process, as it demonstrates triadic rather than dyadic representation. Joyce parodies the "foolhardy" laws of narrative (Gerard Genette) found in Proust by using mediating representation found in Peircean semiotics, which begins with the "play of musement," otherwise known as abduction (a form of induction). The three part sequence of musement (abduction, deduction, and induction) provides a means of understanding the three-part structure of Ulysses.

El presente trabajo critica el rol constitutivo que tanto Gérard Genette como Jean-Marie Schaeffer le otorgan a la atención en la relación estética entre un sujeto y una obra literaria. A su vez, el análisis realizado es útil para resignificar el concepto de prefocalización criteriosa de Noël Carroll. A partir de análisis estructurales y narrativos de la obra de arte literaria, se argumenta que la atención estética no es necesaria en la relación estética. Por otra parte, se defiende (...) que los estados afectivos y estéticos generados por la lectura dependen de la relación entre el lector y ciertos elementos formales existentes en la obra. En concordancia, se propone una interpretación de la prefocalización criteriosa que resalta la importancia de la influencia de las elecciones del autor en la respuesta afectiva del lector. (shrink)

ABSTRACT The gospel of Matthew is one of the most beloved and studied gospels in Christianity, having a rich history of reception. The purpose of this paper is to article study its reading in Brazil from selected intertitles in two biblical versions. The research aims to identify how the gospel has been received by Brazilian editors and readers and how editorial intertitles can provide evidence of such reception. In order to achieve such objective, the history of reading and the history (...) of the book are used as references, based on theories by Roger Chartier (2001, 2002, 2022), Robert Darnton (2010), Lucien Febvre and Henri-Jean Martin (2017), Gerard Genette (1997) and D.F. McKenzie (2018). (shrink)

O presente artigo apresenta uma análise filosófica do conto _Um discurso sobre o método _escrito por Sérgio Sant’Anna. O objetivo da análise é demonstrar que o conto é construído como um esforço de mímesis da filosofia cartesiana. Parte-se do pressuposto que o texto artístico comporta múltiplas interpretações, principalmente quando construído em diálogo com a filosofia. Do tema em destaque, o cartesianismo defende a ideia de que a subjetividade é um dado radical sem ligação com o entorno material, social e cultural. (...) Todavia, o contista contemporâneo discorda deste isolamento e constrói uma narrativa na qual o ‘eu’ é descoberto através de vários métodos. Com isto amplia-se a compreensão hodierna de que o sujeito não está fechado sobre parâmetros científicos estritos, e sim se abre a inúmeras manifestações fenomênicas. Esta análise literária e filosófica vai amparada nos conceitos analíticos de Gerard Genette em _O discurso da narrativa, _assim como em concepções literárias de Edgar Allan Poe, Júlio Cortázar e Ricardo Piglia além, é claro, de algumas obras de René Descartes. O resultado alcançado é um exercício especulativo que, à primeira vista, parece uma crítica ao puro cartesianismo, mas que, ao contrário, se posiciona como um complemento que reconhece e amplia os caminhos da modernidade para o estudo do ‘eu’. Em acréscimo indicam-se semelhanças entre o conto e a obra de Descartes, o que reforça nossa tese de mímesis e complementariedade entre a obra literária e a filosófica. (shrink)

This article examines interactivity using the concept of dialogic relationships introduced by Russian philosopher Mikhail Bakhtin and the concept of transtextuality, proposed by French literary theorist Gérard Genette. These concepts help to reveal two parallel strata of interactivity: the stratum of interactivity between the viewer and the message and the stratum of interactivity that exists inside the message and its surrounding. It concludes that interactivity can be conceived as a relation and that the message is a co-creation. The (...) study contributes to the theory of interactivity, which challenges the existing – and rather limited – advertising theories and offers an alternative Bakhtinian perspective on the phenomenon of interactivity. (shrink)

The Supreme Court”, first published in 1987, is a concise and informative narrative of the highest court in the USA. It contains much that is of interest and probing about the court and the intrigues of its decision-making. Moments abound when the reader is taken on a journey through the humanity of the cases, the erudite corridors of high-law and into the intensely high-strung but level-headed hallowed chambers of the Justices and Justice. What is revealed is the exacting mask of (...) law, the humanity and affectations of those whose burden it is to deliver far-reaching judgment on the American people. However, more revealing of the storyline is, perhaps, not so much the woven narratives contained within the three pages of text as it is the peripheral story (what Gerard Genette called the ‘paratext’) unfolded in the cover wraps, what they contain and the stories they weave. In this paper, I examine the liminal devices of ‘The Supreme Court’. I argue that much of the systemic cognition of the legal system can be divined from a scholarly encounter with these elements. Furthermore, the paratexts of two editions of the book indicate a paradigmatic shift in the legal perception of both the Supreme Court and the author between the periods of publication. This underscores the law not only in its reactive form but also in its dexterity in shifting its position to reflect the reality of its time. On each occasion, it alters the legal consciousness of a nation. Yet, it stays remarkably stable and self-effacing. The essential question is one of deference. It is of great interest that the Chief Justice targets the informed and the interested as opposed to the ignorant and ambivalent. The liminal devices, I observe, are probably as eloquent with this message as the text within. The paratext bears testimony to this. -/- Keywords. (shrink)

In his well-known work of art criticism _Art of the Modern Age_, Jean-Marie Schaeffer offered a lucid and powerful critique of what he identified as the historically dominant thinking about art and aesthetics from the Jena Romantics, to Nietzsche, Heidegger, Adorno, and beyond, which he termed “the speculative theory of art.” Here, in _Beyond Speculation, _Schaeffer builds from this significant work, rejecting not only the identification of the aesthetic with the work of art, but also the Kantian association of the (...) aesthetic with subjectively universal judgment. In his analysis of aesthetic relations, he opens up a space for a theory of art that is free of historicism and capable of engaging with noncanonical and non-Western arts. By engaging with the ideas of Arthur Danto, Gérard Genette, Nelson Goodman, George Dickie and Rainer Rochlitz, and evoking a range of aesthetic experience from Proust to King Kong to Japanese temple design, _Beyond Speculation_ makes an original and engaging contribution to the development of the philosophy of culture. “While Schaeffer is not afraid to do the necessary detail work, he never gets mired in issues of merely scholastic interest.”—F. L. Rush, _Bookforum_, on _Art of the Modern Age_. (shrink)

El presente trabajo es un análisis del comportamiento narratológico de ese conjunto multiforme de obras que configuran lo que hoy se conoce como “literaturas del yo”, en el que se incluyen relatos tanto de ficción como de no ficción. Más específicamente, los aspectos que aquí nos han interesado son el tiempo de la narración y los niveles de estructuración de la historia, en cuyo estudio hemos partido del método elaborado por Gérard Genette en “Discours du récit”. Si bien (...) este método nos parece completamente vigente, lo hemos complementado con otras aportaciones más actualizadas, procedentes tanto de la narratología como de la lingüística de la enunciación, todo ello con el objetivo final de obtener un modelo descriptivo capaz de explicar las variantes formales que se presentan en el estudio de las literaturas del yo. This research study analyzes the narrative behaviour of that multiform set of works known as literatures of the Self, which includes both fictional and non-fictional stories. The main aspects discussed in this paper are the narrative time and the story structuring levels. This study is based on the method proposed by Gérard Genette in his work “Narrative Discourse: An Essay in Method”. Although this method is completely valid, it has been supplemented with other more updated contributions from narratology and the linguistics of enunciation in order to provide a descriptive model capable of explaining the formal variants present in the study of the literatures of the Self. (shrink)

Cet essai porte sur les implications ontologiques de l’opposition métaphore / métonymie. La première partie discute l’étude faite par Gérard Genette du rôle de la métonymie et de la métaphore dans la structure du roman proustien, explorant les relations d’implications mutuelles entre les deux mouvements tropologiques. La seconde partie essaie de montrer comment cette distinction s’ancre dans la structure même de signification et – étant donné le lien constitutif entre signification et objectivité – sa pertinence ontologique première. Elle (...) étudie d’abord l’importance de la distinction dans l’émergence et la constitution des espaces politiques, avant d’en discuter deux exemples : l’unilatéralisation de re-agrégations métaphoriques dans la logique de la « grève générale » selon Sorel et le rôle des métonymies dans les stratégies léninistes. This essay attempts to approach the ontological implications of the metaphor/metonymy opposition. A first part starts with a discussion of Gerard Genette’s study of the role of metonymy and metaphor in the structuration of Proust novel and explores the relations of mutual implications between both tropological movements. A second part tries to show how this distinction is anchored in the very structure of signification, and – given the constitutive link between signification and objectivity – its primary ontological relevance. A first part studies the importance of the distinction in the emergence and constitution of political spaces. Two examples are discussed : the unilateralization of metaphorical reaggregations in the logic of Sorel’s 'general strike', and the role of 'frozen' metonymies in the design of Leninist strategies. (shrink)

Much of the world's literature and criticism has been shaped by ideas about the nature, function and value of literary genres. Modern developments in critical theory and the emergence of new media such as film and television, have put in question traditional categories, and challenged the assumptions on which earlier genre theory was based. This anthology, the first of its kind in English, charts these new developments and contains judicious selections from major twentieth-century theorists including Mikhail Bakhtin, Gérard (...) class='Hi'>Genette and Jacques Derrida. (shrink)

Au fil des volumes inaugurés par Bardadrac, Gérard Genette, livrant des versions différentes de certains biographèmes, « corrige » sa vie d’une façon qu’on propose d’appeler annotation de soi. L’étude de la figure de « Jacqueline » révèle ainsi un usage très personnel de la note auctoriale, telle que Genette l’avait définie dans Seuils, et qui fait tendre l’ensemble des volumes non seulement vers l’autofiction, mais vers une sorte d’« anti-roman » valéryen.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.2 (2000) 137-153 [Access article in PDF] Metaphor and the Making of Sense: The Contemporary Metaphor Renaissance William Franke Metaphor has gained a new lease on life through the revival of rhetoric in recent decades. For promoters of "la nouvelle rhétorique," such as Gérard Genette and Roland Barthes, rhetoric came to coincide with a total science of language that is practically coextensive with all (...) social and human knowledge, while in the Anglo-Saxon world, Wayne Booth, in the wake of Kenneth Burke, repristinated rhetoric as, not just a technical discipline, but a moral one, and, in fact, an all-embracing criticism of the humanities. 1 The fortunes of metaphor have revived and flourished in tandem with those of rhetoric as a whole. Over the more than two millennia of a progressive eclipse of rhetoric, during which it shrank from its original primacy as the master art of persuasion in law, literature, and politics and, moreover, as the general framework of culture, to the status of an ancillary art of elocution of exclusively formal import, metaphor was eventually confined to being just one particular instance within the schemes of classifications of tropes. It became an affair of style, an ornament of decorative discourse, as rhetoric came to be identified with mere elocutio and was no longer essentially also inventio--the finding of arguments, in which metaphor's role is actually paramount--and dispositio--the ordering of discourse into its syntactic parts, such as exordium, narration, discussion, peroration. As the originally tripartite art and science of rhetoric was amputated of two of its main divisions in the classical model established on the basis of Aristotle's three-book treatise, 2 metaphor became a merely formal enhancement and lost its roles as substantive and structuring for knowledge and discourse.The decline of interest in philosophical, Aristotelian rhetoric had much to do with metaphor's reduction to a merely technical or decorative device. But with the recent widening practically without limit of the terrain of rhetoric, and particularly with its restoration to its original standing as a philosophical discipline comprehending the substance of argument, metaphor [End Page 137] has once again acquired cognitive status and, moreover, has tended to become the name for figurative language in general and even, emblematically, for the rhetorical or rhetoricity as such. Where the power of rhetoric to reshape cognitive meaning and even to reinvent, or at least reconfigure, reality was once again recognized as irresistible throughout all the realms of discourse, the source and unity of this power seemed to require a name, and more often than not metaphor--on account of the transformative, inventive power associated particularly with it--has been adopted to serve this purpose.Today, under the aegis of metaphor, the power of figurative language, arguably the originating power at the source of all language and even of an articulated world as such, has newly become an object of research and general theoretical speculation. This extension of the concept of metaphor is bound up with a renewed view of figurative language in general as not only a substantive bearer of the content of discourse, but also as ontologically constitutive of the world, as operative at the origins of things and their identities. It has become possible to view all language as being metaphorical, and accordingly metaphorical operations of transfer and redefinition have been recognized as being the very essence of language and of all that comes to articulation through it. Furthermore, as witnessed by burgeoning publications and conferences, metaphor has become a topic onto which practically all the classic philosophical problems of ontology and epistemology are projected and appear in a new, specifically linguistic, light. 3This new ascendency of metaphor is certainly not uninflected or uncontested, even within the camps of the new rhetoricians. Genette, in "La rhétorique restreinte" (1972), resists the "inflation of metaphor" to become the trope of tropes and the figure of figures in a wide range of writers epitomizing modern poetics--particularly Marcel Proust, Roman Jakobson, and Michel Deguy (1969). Genette argues against reduction of... (shrink)

Our aim is to examine ironical intertextual references and metalanguage in the movies of Woody Allen. The first part of the paper is devoted to intertextuality. To begin with, we specify the notion of intertextuality. Consequently, we provide certain typology of intertextual references, which takes its inspiration from Gérard Genette and Denis Fortin. Finally, we use this typology in investigating the phenomenon of intertextuality in Allen’s movies. The remaining part of the paper focuses on metalanguage. Again, we specify (...) the crucial notion, the notion of metalanguage. This part is inspired mostly by Patricia Waugh’s work on metafiction. We introduce the distinction between embedded stories and metafiction. Subsequently, we examine their occurrences in Allen’s movies. (shrink)