Showing papers by "Linda Hutcheon published in 1977"

Modes et formes du narcissisme litteraire

Abstract: Et. d'un nouveau mode de recits qui reflechissent sur leur propre genese et leur propre croissance et qui, en denudant leurs systemes de fiction, integrent le processus de fabrication au plaisir partage de lire. S'appuyant sur les travaux de Scholes et de Ricardou, l'A. etablit une distinction entre les textes qui sont conscients d'eux-memes au niveau diegetique, conscients de leurs propres procedes narratifs| d'autres qui se reflechissent eux-memes au niveau linguistique. A l'interieur de ces deux modes, chacun peut se presenter sous deux formes: les formes ouvertes de narcissisme se recontrent dans des textes ou la conscience auto-centrique et l'auto-reflexion sont tout a fait evidentes| sous sa forme couverte, il se rencontre dans des textes auto-reflexifs mais pas necessairement auto-centrique. Implications diachroniques et synchroniques de ce systeme.

The Outer Limits of the Novel: Italy and France

Abstract: As the "metafictions" of Borges, Barth, Nabokov, and Fowles selfconsciously display their narrative and unabashedly fictional wares, the texts of their Continental contemporaries run amok amid the underpinnings of the very market stalls. The linguistic self-reflectiveness of the Italian neoavant-garde, of Tel Quel, of the post-Cerisy nouveau nouveau roman, has called into question more than just the outer limits of the novel as a literary genre: the crisis in novelistic language has been interpreted as a crisis in the values, the ideology, which it embodies. This politicization, this intended negation of the communicative function of language, does, however, bring us full circle, back to the problem of the generic identity of these new texts. Have these radical writers moved beyond the novel to a new and different art form? Or, as many feel, have they, by their obscure critical dicta, merely obfuscated, camouflaged what is essentially just another stage in the development of narrative form? Perhaps both views are possible. The Tel Quel Theorie d'ensemble of 1968 and the proclamations of the Italian radicals of the 1960s all point to a desire to move beyond the novel to another form, perhaps not even "literary" in the sense we now have for that term. It would seem important to study these early statements of critical intent as well as the actual practice of the writers themselves with an eye to deciding just where the line can be drawn, if at all, between the linguistically self-informing novel and the postnovelistic texte. The recent expansion of the Rousselian language play of the nouveau nouveau roman provides an inviting testing ground for theoretical notions about the limits of the novel from the point of view of linguistic self-reflectiveness.