THE APHORISM AND PLAY IN THE ARTISTIC PARADIGM OF THE NOVELS BY CRÉBILLON-FILS

Journal Title: Studia Litterarum - Year 2016, Vol 1, Issue 3

Abstract

The article examines the function of ludic poetics and the role of aphorisms in the novels by Crébillon-fls: “L’Ecumoire, ou Tanzaï et Néadarné.” “Les Egarements du cœur et de l’esprit,” and “Le Sopha.” It argues that the specifcity of the artistic paradigm of Crébillon’s novels draws from the synthesis of the ludic origin and aphoristic writing while their “inner measure” (N. D. Tamarchenko) is determined by skeptical and ironic attitude to the world typical for rococo. The ludic poetics creates the second level of encoding in the novels that makes them interesting to different audience. A naive reader enjoys a frivolous work that has a comical situation at its core; a more sophisticated reader peruses a “novel with a clue,” that is a novel with a metaphorical plot containing ironic insinuations and allusions to contemporary realities. Aphorisms in the dialogues reveal the absence of the shared, universal truth and demonstrate its contingency on the speaker’s viewpoint. Taken together, aphorisms of Crébillon’s characters reflect the author’s own dialogical relation to reality and relativity of the moral truths in his opinion. Blurring semantic meaning of the words related to moral and ethical sphere was typical for rococo; it allowed these words collide in a ludic manner within the aphoristic framework; it also prompted further dialogization of aphoristic statements and the establishment of dialogic relations among characters and between the author and the world. By broadening the local chronotope and establishing contacts between the novel’s conventional plot and reality, by contributing to the ongoing dialogue among the characters, the author, and the reader, by reflecting the controversies of the rococo worldview and sophisticating the style, the ludic poetics and aphoristic writing defned stylistic and generic specifcity of Crébillon’s novel — intellectual in form and philosophical in content.

Authors and Affiliations

Natalya V. Lidzerhos

Keywords

Related Articles

“Falsification of Shakespeare”: Georgy Shengeli’s Unpublished Article on Boris Pasternak’s Translations

In his article “Pasternak’s Shakespeare” (1945), Georgy Shengeli, poet, literary translator and expert in prosody, examines the fragments from Shakespeare’s tragedies Romeo and Juliet and Hamlet translated by Boris Past...

BLOK’S ROSE AND CROSS IN THE LIGHT OF ROSICRUCIAN TRADITIONS

The author explores the mystical nature of symbols and the leitmotif structure of Alexander Blok’s drama Rose and Cross. The choice of the 13th Century Languedoc as the basis for the drama’s chronotope shows that the p...

ANDRÉ GIDE’S RETOUR DE L’U.R.S.S. AND ITS PUBLICATION HISTORY: A VIEW FROM THE KREMLIN

The article discusses the publication history of André Gide’s book Return from the USSR written after his trip to the Soviet Union. It explains how the Kremlin gathered information about the book and how ofcial Soviet...

NATIONAL SPECIFICITY AND ARTISTIC VALUE: AT THE CROSSROADS OF ETHNOCULTURAL DISCOURSE AND AXIOLOGICAL CRITIQUE

The article discusses correlation of ethnic, cultural, and axiological approaches as a methodologically relevant problem in literary studies. The weakening interest in the structural and semantic complexity of the lite...

FROM THE CULT OF THE “SELF” TO THE ANCESTOR CULT: TRILOGY THE CULT OF THE SELF BY MAURICE BARRÈS

The debut of Maurice Barrès, his trilogy The Cult of the Self immediately won the reader’s attention. In the 1890s, his works evoked increasing interest. His contemporaries read them as a fascinating narrative about the...

Download PDF file
  • EP ID EP26109
  • DOI 10.22455/2500-4247-2016-1-3-4-141-161
  • Views 283
  • Downloads 16

How To Cite

Natalya V. Lidzerhos (2016). THE APHORISM AND PLAY IN THE ARTISTIC PARADIGM OF THE NOVELS BY CRÉBILLON-FILS. Studia Litterarum, 1(3), -. https://europub.co.uk/articles/-A-26109