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Philippe woodland, Avant-propos

I. :

Jean-Paul Sartre, Que peut l. a. littérature ?

II. :

Jean-François Louette, l. a. littérature, du pouvoir au besoin

Gisèle Sapiro, Les pouvoirs de l. a. littérature : origines et métamorphoses d'une croyance ancienne

Robert Kopp, Témoigner ou s'engager ?

Emmanuel Bouju, Oui, mais (encore). Puissance du roman contemporain

III. :

Jean Ricardou, L'impensé d'un soir

Jean-Pierre Faye, Un mur dans le roman

Michel Deguy, Diffractions

François Beaune, Ballade littorale

Scholastique Mukasonga, Littérature et génocide : un défi à l'oubli

Édouard Louis - Élisabeth Philippe, Savoir souffrir (entretien)

Maintenant :

Aurélien Bellanger, Le file fifty three. Entretien à propos de L'aménagement du territoire

Un mot d'ailleurs :

Elisabetta Rasy, Corporale

Épiphanies :

Guy Walter, "Articulé entre mon père et ma mère..."

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Extra resources for La Nouvelle Revue Française (n° 609) - Que peut (encore) la littérature ? (Septembre 2014)

Example text

Reading for pleasure was certainly often frowned on—it was what courtiers, playboys, and worst of all idle women, did—but for literate people, reading for pleasure is what comes naturally, and Sidney goes to some lengths to accommodate the The Defence of Poesie (London, ), p. . “Sir Philip Sidney’s Arcadia,” in The Oxford Handbook of English Prose –, ed. Andrew Hadfield (Oxford: Oxford University Press, ), p. . 25 Ars Poetica, line . 23 24 OUP CORRECTED PROOF – FINAL, 8/9/2015, SPi  |      obvious.

A thoughtful exhibition at the University of Chicago Library in  entitled Book Use, Book Theory –, with an exemplary catalogue by the curators Bradin Cormack and Carla Mazzio, made the point eloquently. It displayed books from the library’s collection that revealed evidence of the agency of early modern readers. Some were instruction manuals of various sorts, but many were literary texts, and the juxtaposition itself was enlightening. Cormack and Mazzio take as their theoretical starting point an emblem from Geoffrey Whitney’s Choice of Emblemes (), the first English emblem book.

Q. Horatius Flaccus, Opera (Venice, ): a page with an illustration of the composite creature described at the opening of Ars Poetica. But why suddenly halfway through the book does an artist enter? The only answer can be that he was called upon by a reader, or was a reader himself, who liked the image enough to want it realized. But, like all readers, he revised and embellished the text according to his own taste, and in the process illustrated the reasons we like tragicomedy, and poetry that disobeys the rules.

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