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 |
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| Online Access: | https://journals.openedition.org/flaubert/2289 |
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| author | Arden Reed |
| author_facet | Arden Reed |
| author_sort | Arden Reed |
| collection | DOAJ |
| description | 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. |
| format | Article |
| id | doaj-art-87c9f441f119474cafd45bd8ca99ee06 |
| institution | Kabale University |
| issn | 1969-6191 |
| language | fra |
| publishDate | 2014-10-01 |
| publisher | Institut des Textes & Manuscrits Modernes (ITEM) |
| record_format | Article |
| series | Flaubert: Revue Critique et Génétique |
| spelling | doaj-art-87c9f441f119474cafd45bd8ca99ee062025-02-05T16:29:40ZfraInstitut des Textes & Manuscrits Modernes (ITEM)Flaubert: Revue Critique et Génétique1969-61912014-10-011110.4000/flaubert.2289Les taches de FlaubertArden ReedThis 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.https://journals.openedition.org/flaubert/2289La Légende de saint Julien l’HospitalierpeinturetacheUn cœur simpleManet Édouard |
| spellingShingle | Arden Reed Les taches de Flaubert Flaubert: Revue Critique et Génétique La Légende de saint Julien l’Hospitalier peinture tache Un cœur simple Manet Édouard |
| title | Les taches de Flaubert |
| title_full | Les taches de Flaubert |
| title_fullStr | Les taches de Flaubert |
| title_full_unstemmed | Les taches de Flaubert |
| title_short | Les taches de Flaubert |
| title_sort | les taches de flaubert |
| topic | La Légende de saint Julien l’Hospitalier peinture tache Un cœur simple Manet Édouard |
| url | https://journals.openedition.org/flaubert/2289 |
| work_keys_str_mv | AT ardenreed lestachesdeflaubert |