Les taches de Flaubert
This article imagines Flaubert as a painter—the pendant to thinking of Manet as a novelist. The two artists are joined —and separated —by the « tache » (stain, blot, mark), inseparably word and image. Flaubert is a strikingly visual writer. « Make pictures, » he regularly instructs himself, but they...
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| Format: | Article |
| Language: | fra |
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Institut des Textes & Manuscrits Modernes (ITEM)
2014-10-01
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| Series: | Flaubert: Revue Critique et Génétique |
| Subjects: | |
| Online Access: | https://journals.openedition.org/flaubert/2289 |
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| Summary: | This article imagines Flaubert as a painter—the pendant to thinking of Manet as a novelist. The two artists are joined —and separated —by the « tache » (stain, blot, mark), inseparably word and image. Flaubert is a strikingly visual writer. « Make pictures, » he regularly instructs himself, but they are hardly legible ones. Rather, he stains the mirror of realism to produce modern fiction. The article traces the « tache » — as mot juste and as deforming image — through « A Simple Heart » and « The Legend of Saint Julien. » I focus on the moment when Félicité tries to decipher « a black imperceptible stain » on the map of Cuba. Later, the « tache » will leave its mark on 20th‑century masterpieces like Sartre’s Nausea and Pollock’s drip paintings. |
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| ISSN: | 1969-6191 |