De la vie idéale aux vies possibles
The novel as Lukacs defines it up to Dostoievsky is characterized by a hero who dreams of a life he is able to represent to himself: for this hero, the ideal life is a life that can be projected through the figures of exemplary models. At about the same time as Lukacs, while writing The Theory of th...
Saved in:
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | fra |
| Published: |
Pléiade (EA 7338)
2010-05-01
|
| Series: | Itinéraires |
| Subjects: | |
| Online Access: | https://journals.openedition.org/itineraires/2105 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| Summary: | The novel as Lukacs defines it up to Dostoievsky is characterized by a hero who dreams of a life he is able to represent to himself: for this hero, the ideal life is a life that can be projected through the figures of exemplary models. At about the same time as Lukacs, while writing The Theory of the Novel, foresees the fading out of such a hero and, along with him, the end of the genre, Jacques Rivière calls for a new kind of novel and a new breed of hero. For Rivière, this new hero does not dream of a life that is already mapped out, but of a life that is unknown, or to put it differently, a life of endless possibilities. This article looks at the way in which this change in what is defined as an ideal life is at once an event in the history of the novel and a consequence of modernity. Flaubert’s last novel, Bouvard et Pécuchet, serves as an illustration for this transformation, which concerns the way both character and reality are defined. |
|---|---|
| ISSN: | 2427-920X |