thèse

WHEN HE WORKED AS A LITERARY CRITIC IN LA REVUE BLANCHE. IN FACT,
THE AUTHOR OF MESSALINE KEEPS EXERTING, BUT IN AN EXTREMELY
UNDERLYING WAY, A KIND OF OBSCURITY. THAT OBSCURITY IS
PARADOXICAL, IN THE SENSE THAT IT IS NOT APPARENT AND THAT IT
ULTIMATELY RESULTS IN THE ABIDING DEVELOPMENT OF AN AESTHETIC OF
THE ABRIDGED, AND IN AN APPARENT SETTING BACK OF HIS PRESENCE OF
CRITIC, EVEN IN THE VERY ACT OF MAKING REPORTS. JARRY GIVES ALL THE
IMPORTANCE TO THE COMMENTED TEXT, HUSHING UP THE WAY HE HAS TO
QUOTE IT, INCESSANTLY. THUS, THIS WORK IS LED, ON THE ONE HAND, BY
OUR CONCERN OF REVEALING THE WAY THE AESTHETIC OF THE ABRIDGED
APPEARS – JARRY PROCEEDS BY CEASELESS SYNTHESES, WHICH, BY DINT OF
BEING ASSERTED, BECOME EITHER OBSCURE OR ELUSIVE – IN THOSE
LITTERARY CRITICISMS WHICH SEEM TO BE BREAD AND BUTTER WORK,
BECAUSE THE AUTHOR OF LE SURMÂLE PRESENTS IN THEM REAL
CONCRETIONS OF SENSE, IN CONNECTION WITH THE NOTION OF ERUDITION,
IN EXTREMELY DIVERSE FIELDS. ON THE OTHER HAND, OUR WORK AIMS AT
SHOWING HOW JARRY DIVERTS THE USUAL USE OF THE QUOTATION – THAT
CARRIES A CORROSIVE CRITICISM OF THE STATUS OF CRITIC – THE AUTHOR OF
LA CHANDELLE VERTE BECOMING A CRITIC WHO EXPRESSES HIMSELF
MOSTLY ACCORDING TO THE TOTAL ABSENCE OF CRITICAL WORDS, BECAUSE
WHEN IT IS A QUESTION OF EXPRESSING "JUDGMENTS", THIS IS IN FACT TO
CONTINUE TO WEAVE A FILIATION WITH AN AUTHORS’ COMMUNITY OF
WHICH HE FEELS CLOSE TO, AND THUS, MAINLY, WITH THE PLACE OF LE
MERCURE DE FRANCE.
MOTS-CLEFS.
JARRY, ALFRED (1873-1907) – ÉDITION COMMENTÉE – LA REVUE BLANCHE – LE
MERCURE DE FRANCE – CRITIQUE LITTÉRAIRE – INTERTEXTUALITÉ –
ÉRUDITION – PROGRÈS – SCIENCES – LITTÉRATURE FRANÇAISE : HISTOIRE ET
CRITIQUE
LITTÉRATURE FRANÇAISE.
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