« My dear audacious Moore » : les poses de l’artiste décadent dans Confessions of a Young Man
In George Moore’s Confessions of a Young Man, published in 1886 at the beginning of Moore’s career, audacity, which is manifested both in the story and in the telling, verges on iconoclasm yet also appears as a pose. The discovery of Impressionism, of Naturalism and of the Decadent movement constitu...
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| Format: | Article |
| Language: | English |
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Presses Universitaires de la Méditerranée
2012-06-01
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| Series: | Cahiers Victoriens et Edouardiens |
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| Online Access: | https://journals.openedition.org/cve/1668 |
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| author | Fabienne Gaspari |
| author_facet | Fabienne Gaspari |
| author_sort | Fabienne Gaspari |
| collection | DOAJ |
| description | In George Moore’s Confessions of a Young Man, published in 1886 at the beginning of Moore’s career, audacity, which is manifested both in the story and in the telling, verges on iconoclasm yet also appears as a pose. The discovery of Impressionism, of Naturalism and of the Decadent movement constitutes an original moment in Moore’s artistic experience in Paris, a time of learning and initiation amidst the French avant-garde. The autobiographical persona plays with rhetorical positions and intertextual references, both integrating and imitating literary influences and going beyond them through parody. The distance between narrating I and narrated I is constantly foregrounded and reinforces the somewhat artificial nature of the young artist’s poses. A considerable degree of ambiguity characterizes these confessions which can be considered as a form of heterotopia, a space of resistance in which boundaries between genres and tones are blurred and in which images of metamorphosis and flux abound. If audacity is constitutive of Moore’s literary stance, Confessions of a Young Man does not just display audacity for audacity’s sake but also offers a reflection on its essential function and value in artistic creation. |
| format | Article |
| id | doaj-art-58323cbedca441b4bdf33c979b2e0342 |
| institution | Kabale University |
| issn | 0220-5610 2271-6149 |
| language | English |
| publishDate | 2012-06-01 |
| publisher | Presses Universitaires de la Méditerranée |
| record_format | Article |
| series | Cahiers Victoriens et Edouardiens |
| spelling | doaj-art-58323cbedca441b4bdf33c979b2e03422025-01-30T10:21:34ZengPresses Universitaires de la MéditerranéeCahiers Victoriens et Edouardiens0220-56102271-61492012-06-017520121410.4000/cve.1668« My dear audacious Moore » : les poses de l’artiste décadent dans Confessions of a Young ManFabienne GaspariIn George Moore’s Confessions of a Young Man, published in 1886 at the beginning of Moore’s career, audacity, which is manifested both in the story and in the telling, verges on iconoclasm yet also appears as a pose. The discovery of Impressionism, of Naturalism and of the Decadent movement constitutes an original moment in Moore’s artistic experience in Paris, a time of learning and initiation amidst the French avant-garde. The autobiographical persona plays with rhetorical positions and intertextual references, both integrating and imitating literary influences and going beyond them through parody. The distance between narrating I and narrated I is constantly foregrounded and reinforces the somewhat artificial nature of the young artist’s poses. A considerable degree of ambiguity characterizes these confessions which can be considered as a form of heterotopia, a space of resistance in which boundaries between genres and tones are blurred and in which images of metamorphosis and flux abound. If audacity is constitutive of Moore’s literary stance, Confessions of a Young Man does not just display audacity for audacity’s sake but also offers a reflection on its essential function and value in artistic creation.https://journals.openedition.org/cve/1668parodyambiguityapprenticeshipaudacityConfessions of a Young Maniconoclasm |
| spellingShingle | Fabienne Gaspari « My dear audacious Moore » : les poses de l’artiste décadent dans Confessions of a Young Man Cahiers Victoriens et Edouardiens parody ambiguity apprenticeship audacity Confessions of a Young Man iconoclasm |
| title | « My dear audacious Moore » : les poses de l’artiste décadent dans Confessions of a Young Man |
| title_full | « My dear audacious Moore » : les poses de l’artiste décadent dans Confessions of a Young Man |
| title_fullStr | « My dear audacious Moore » : les poses de l’artiste décadent dans Confessions of a Young Man |
| title_full_unstemmed | « My dear audacious Moore » : les poses de l’artiste décadent dans Confessions of a Young Man |
| title_short | « My dear audacious Moore » : les poses de l’artiste décadent dans Confessions of a Young Man |
| title_sort | my dear audacious moore les poses de l artiste decadent dans confessions of a young man |
| topic | parody ambiguity apprenticeship audacity Confessions of a Young Man iconoclasm |
| url | https://journals.openedition.org/cve/1668 |
| work_keys_str_mv | AT fabiennegaspari mydearaudaciousmoorelesposesdelartistedecadentdansconfessionsofayoungman |