https://orcid.org/0000-0002-8019-6183
Ancienne élève de l’École Normale Supérieure, Professeur de Littérature française, travaille sur l’écriture de l’histoire dans le long XIXe siècle et s’intéresse notamment à la part des élaborations imaginaires et idéologiques dans la transmission et la construction des référents culturels, aux recompositions symboliques qui travaillent l’imaginaire des sociétés et les idéologies du pouvoir et à la sélection des composantes appelées à former le fonds d’une culture commune, qu’elle aborde dans une perspective résolument transdisciplinaire. Elle est notamment l’auteur de Le roman de l’histoire (2001), Penser la nation, mémoire et imaginaire en révolutions (2011) et de Rome et l’histoire. Quand le mythe fait écran (avec M. Clavel‐Lévêque, 2017).
Laure Lévêque
Cahiers ERTA, Numéro 18, 2019, pp. 25 - 43
https://doi.org/10.4467/23538953CE.19.011.10696According to the critics, this novel by Aragon was a turning point in his works. While the novel series known as The Real World was allegedly defined as a form of (Socialist) realism, Aragon then went beyond the strict boundaries of the novel as a genre in his late period. In this novel, the rules of enunciation play a major part in the blurry building‐up of a semantic structure. The structure relies on internal monologue – even, to widen the scope, on free indirect speech or literary devices giving free course to subjectivity. The term “intersubjectivity” may even be used, as it is quite obvious the fictionalised biography of French painter Théodore Géricault is closely intertwined with Aragon’s own life. It relates the career of an artist struggling with the torments of History, as well as the awaken ing of his political and moral conscience.