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L'evidence du tableau dans "Les Cent...

Sauvage, Emmanuelle.

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L'evidence du tableau dans "Les Cent Vingt Journees de Sodome" et les trois "Justine" de Sade (French text, Marquis de Sade).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	L'evidence du tableau dans "Les Cent Vingt Journees de Sodome" et les trois "Justine" de Sade (French text, Marquis de Sade)./
作者:	Sauvage, Emmanuelle.
面頁冊數:	483 p.
附註:	Source: Dissertation Abstracts International, Volume: 64-06, Section: A, page: 2080.
Contained By:	Dissertation Abstracts International64-06A.
標題:	Literature, Modern. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NQ80415
ISBN:	0612804151

L'evidence du tableau dans "Les Cent Vingt Journees de Sodome" et les trois "Justine" de Sade (French text, Marquis de Sade).
Sauvage, Emmanuelle.

L'evidence du tableau dans "Les Cent Vingt Journees de Sodome" et les trois "Justine" de Sade (French text, Marquis de Sade). - 483 p.

Source: Dissertation Abstracts International, Volume: 64-06, Section: A, page: 2080.

Thesis (Ph.D.)--Universite de Montreal (Canada), 2003.

The aim of this work is to examine the relation of Sade's novels to theater and painting by referring to the aesthetic doctrine <italic>ut pictura poesis </italic>, which is still very much alive in France at the end of the eighteenth century. According to this famous quotation inherited from Horace, a poem (and literature in general) is like a painting: words possess a pictorial power (<italic>enargeia, evidentia</italic>), which is given them by textual images, such as descriptions and verbal figures (e.g. <italic> hypotyposis</italic>). In <italic>Les Cent Vingt Journées de Sodome </italic> and the three versions of <italic>Justine</italic>, the portraits and libertine scenes are substitutes for engraved images and dramatic pictures. Philippe Hamon's linguistic approach and Jean-Michel Adam's one may help to understand the organization of the Sadean descriptions in lists, sequences and <italic>tableaux</italic>. Moreover, such descriptions are indirectly linked to the taxonomic methods that prevail through the <italic>Ancien Régime </italic>, and more directly to the development of the sentimental genre (novel, <italic> drame</italic>, painting). Sade's novels share with Diderot's <italic>drames </italic> and Greuze's paintings the notion of the <italic>tableau</italic>, which implies the presence of many observers: narrator, characters and reader. The witnesses' visual activity is presented in <italic>Les Cent Vingt Journées </italic> and <italic>Justine</italic> in different ways, depending on their point of view about the scenes that they observe. Justine is reluctant to see what hurts her principles and her eyes, and consequently she always refuses to look at it and to describe it, but all the same she does. Even some libertine characters refuse both to be seen by their sexual partners and to see the objects of pleasure which have nothing to do with their <italic>passions</italic>. In spite of these restrictions, their vision rules the world in Sade's novels.

ISBN: 0612804151Subjects--Topical Terms:

624011
Literature, Modern.

L'evidence du tableau dans "Les Cent Vingt Journees de Sodome" et les trois "Justine" de Sade (French text, Marquis de Sade).
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245 1 0 $a L'evidence du tableau dans "Les Cent Vingt Journees de Sodome" et les trois "Justine" de Sade (French text, Marquis de Sade).
300 $a 483 p.
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520 $a The aim of this work is to examine the relation of Sade's novels to theater and painting by referring to the aesthetic doctrine <italic>ut pictura poesis </italic>, which is still very much alive in France at the end of the eighteenth century. According to this famous quotation inherited from Horace, a poem (and literature in general) is like a painting: words possess a pictorial power (<italic>enargeia, evidentia</italic>), which is given them by textual images, such as descriptions and verbal figures (e.g. <italic> hypotyposis</italic>). In <italic>Les Cent Vingt Journées de Sodome </italic> and the three versions of <italic>Justine</italic>, the portraits and libertine scenes are substitutes for engraved images and dramatic pictures. Philippe Hamon's linguistic approach and Jean-Michel Adam's one may help to understand the organization of the Sadean descriptions in lists, sequences and <italic>tableaux</italic>. Moreover, such descriptions are indirectly linked to the taxonomic methods that prevail through the <italic>Ancien Régime </italic>, and more directly to the development of the sentimental genre (novel, <italic> drame</italic>, painting). Sade's novels share with Diderot's <italic>drames </italic> and Greuze's paintings the notion of the <italic>tableau</italic>, which implies the presence of many observers: narrator, characters and reader. The witnesses' visual activity is presented in <italic>Les Cent Vingt Journées </italic> and <italic>Justine</italic> in different ways, depending on their point of view about the scenes that they observe. Justine is reluctant to see what hurts her principles and her eyes, and consequently she always refuses to look at it and to describe it, but all the same she does. Even some libertine characters refuse both to be seen by their sexual partners and to see the objects of pleasure which have nothing to do with their <italic>passions</italic>. In spite of these restrictions, their vision rules the world in Sade's novels.
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