Gérard Genette

Genette uses Proust's Remembrance of Things Past as a work to identify and name the basic constituents and techniques of narrative. Genette illustrates the examples by referring to other literary works. His systemic theory of narrative deals with the structure of fiction, including fictional devices that go unnoticed and whose implications fulfill the Western narrative tradition.

An Essay in Method

Narrative Discourse

Figures I

Mimologiques

Pierre Fontanier

Les Figures du discours

Gérard Genette explore le champ littéraire des oeuvres dérivées d'une oeuvre antérieure, souvent méconnue, créee par transformation ou imitation.

la littérature au second degré

Palimpsestes

Figures, essais

Le traité des Figures du discours, publié par Pierre Fontanier de 1821 à 1830, est l'une des œuvres maîtresses de la rhétorique classique, et son aboutissement le plus représentatif et le plus achevé. Il constitue l'effort le plus rigoureux, dans toute l'histoire de la rhétorique, pour définir avec précision le concept de figure, pour dresser un inventaire complet et fidèle à cette définition, et pour en établir une classification systématique et pertinente. Aucune œuvre ne peut mieux faire revivre pour nous cette rhétorique des figures dont l'héritage a été revendiqué par la linguistique structurale.

Les figures du discours

"Genette's erudite and witty book challenges radical historicism in literary studies. . . . A marvel of precision and argumentative rigour."--Thomas Pavel, Princeton University

An Introduction

The Architext

In Narrative Discourse Revisited Genette both answers critics of the earlier work and provides a better-defined, richer, and more systematic view of narrative form and functioning. This book not only clarifies some of the more complex issues in the study of narrative but also provides a vivid tableau of the development of narratology over the decade between the two works.

Narrative Discourse Revisited

Bibliografie : p. 289-294. - Met reg. Premier volume d'une ensemble consacré au statut et aux fonctions des oeuvres d'art. Celui-ci porte sur les modes d'existence des oeuvres. Les oeuvres d'art revêtent deux modes d'existence, qui sont l'immanence et la transcendance. L'immanence est définie par le type d'objet en lequel l'oeuvre consiste, la transcendance est définie par les diverses manières dont une oeuvre déborde son immanence.

L'œuvre de l'art: La relation esthétique

Se trata de los umbrales del texto literario, lo que se llamará aquí, con un término más técnico, el paratexto: presentación editorial, nombre del autor, títulos, dedicatorias, epígrafes, prefacios, notas, pláticas y entrevistas, y otras advertencias en la cuarta de forros. Este aparato es a menudo demasiado visible para ser percibido y actúa a espaldas de su destinatario. Este estudio considera de más cerca lo que con tanta frecuencia regula en secreto nuestras lecturas.

Umbrales

Fikcija i dikcija

Figures of Literary Discourse

One of the best-known continental theorists writing today, Gérard Genette here explores our aesthetic relation to works of art. Through an analysis of the views of thinkers ranging from David Hume and Immanuel Kant to Monroe C. Beardsley, Arthur Danto, and Nelson Goodman, Genette seeks to identify the place of the aesthetic in a theory of artistic appreciation. His discussion is rich in detailed examples drawn from all of the arts. The Aesthetic Relation is a companion volume to The Work of Art: Immanence and Transcendence, published by Cornell in 1997. Taken together, the two books offer a comprehensive theory of art which addresses the work of art as at once object and action. Genette maintains that our aesthetic relation to all types of objects presupposes that special attention is paid to their outward aspect (rather than to their usefulness) when appraising them. Such appraisals, while wholly subjective and temporary, are expressed as objective and universal judgments about the items in question. Further, he asserts that our aesthetic relation to works of art in particular is based on an awareness of an aesthetic intention that defines an object as a work of art, as well as on an awareness of a work's position in its historical and generic field.

The Aesthetic Relation

das Buch vom Beiwerk des Buches

Paratexte

What art is--its very nature--is the subject of this book by one of the most distinguished continental theorists writing today. Informed by the aesthetics of Nelson Goodman and referring to a wide range of cultures, contexts, and media, The Work of Art seeks to discover, explain, and define how art exists and how it works. To this end, Gérard Genette explores the distinction between a work of art's immanence--its physical presence--and transcendence--the experience it induces. That experience may go far beyond the object itself.Genette situates art within the broad realm of human practices, extending from the fine arts of music, painting, sculpture, and literature to humbler but no less fertile fields such as haute couture and the culinary arts. His discussion touches on a rich array of examples and is bolstered by an extensive knowledge of the technology involved in producing and disseminating a work of art, regardless of whether that dissemination is by performance, reproduction, printing, or recording. Moving beyond examples, Genette proposes schemata for thinking about the different manifestations of a work of art. He also addresses the question of the artwork's duration and mutability.

Gérard Genette

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