Poétisation et déréalisation de la ville au XIXème siècle : les tropes d’une littérature hantée
The urban and suburban worlds had become everyday, if not pervasive, realities for many 19th-century Britons, and were increasingly resorted to in the fiction of the times to explore many social, economic or ethical issues. Yet, because of the way they were represented, cities were paradoxically der...
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| Format: | Article |
| Language: | English |
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Presses Universitaires du Midi
2009-12-01
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| Series: | Anglophonia |
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| Online Access: | https://journals.openedition.org/acs/1622 |
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| author | Françoise Dupeyron-Lafay |
| author_facet | Françoise Dupeyron-Lafay |
| author_sort | Françoise Dupeyron-Lafay |
| collection | DOAJ |
| description | The urban and suburban worlds had become everyday, if not pervasive, realities for many 19th-century Britons, and were increasingly resorted to in the fiction of the times to explore many social, economic or ethical issues. Yet, because of the way they were represented, cities were paradoxically derealized—even in supposedly realistic texts—and turned into dreamlike or fantasy entities with Gothic or mythical qualities.The fact the city was so omnipresent and disturbing while at the same time so familiar or even commonplace probably accounts for the writers’ keeping it at a distance, through derealizing techniques whose stylistic modalities shall here be examined, namely the use in prose works of literary devices that belong to poetic writing—such as metaphors, hypallages and metonymies—in Thomas De Quincey’s The Confessions of an English Opium-Eater (1821) and Poe’s "The Man of the Crowd" (1840). De Quincey’s text represents a watershed, laying the foundations for the art of the city, as will also be the case with Poe’s short story some 20 years later. Both works will enduringly influence Victorian writers—such as Wilkie Collins, Stevenson, Arthur Machen, or Arthur Conan Doyle. This brief diachronic survey does not claim to be exhaustive but merely aims at showing the obsessive and haunting persistence of the same schemes, tropes and symbols—pioneered by De Quincey and Poe—throughout the 19th century, something reminiscent of a Gothic scenario, or a ghost story. |
| format | Article |
| id | doaj-art-bd3bf0c2a2e345e08a507bff3e87d9a2 |
| institution | Kabale University |
| issn | 1278-3331 2427-0466 |
| language | English |
| publishDate | 2009-12-01 |
| publisher | Presses Universitaires du Midi |
| record_format | Article |
| series | Anglophonia |
| spelling | doaj-art-bd3bf0c2a2e345e08a507bff3e87d9a22025-01-30T12:34:08ZengPresses Universitaires du MidiAnglophonia1278-33312427-04662009-12-012529530410.4000/caliban.1622Poétisation et déréalisation de la ville au XIXème siècle : les tropes d’une littérature hantéeFrançoise Dupeyron-LafayThe urban and suburban worlds had become everyday, if not pervasive, realities for many 19th-century Britons, and were increasingly resorted to in the fiction of the times to explore many social, economic or ethical issues. Yet, because of the way they were represented, cities were paradoxically derealized—even in supposedly realistic texts—and turned into dreamlike or fantasy entities with Gothic or mythical qualities.The fact the city was so omnipresent and disturbing while at the same time so familiar or even commonplace probably accounts for the writers’ keeping it at a distance, through derealizing techniques whose stylistic modalities shall here be examined, namely the use in prose works of literary devices that belong to poetic writing—such as metaphors, hypallages and metonymies—in Thomas De Quincey’s The Confessions of an English Opium-Eater (1821) and Poe’s "The Man of the Crowd" (1840). De Quincey’s text represents a watershed, laying the foundations for the art of the city, as will also be the case with Poe’s short story some 20 years later. Both works will enduringly influence Victorian writers—such as Wilkie Collins, Stevenson, Arthur Machen, or Arthur Conan Doyle. This brief diachronic survey does not claim to be exhaustive but merely aims at showing the obsessive and haunting persistence of the same schemes, tropes and symbols—pioneered by De Quincey and Poe—throughout the 19th century, something reminiscent of a Gothic scenario, or a ghost story.https://journals.openedition.org/acs/1622villegothiqueflâneurdéfamiliarisationpoétisationhypallage |
| spellingShingle | Françoise Dupeyron-Lafay Poétisation et déréalisation de la ville au XIXème siècle : les tropes d’une littérature hantée Anglophonia ville gothique flâneur défamiliarisation poétisation hypallage |
| title | Poétisation et déréalisation de la ville au XIXème siècle : les tropes d’une littérature hantée |
| title_full | Poétisation et déréalisation de la ville au XIXème siècle : les tropes d’une littérature hantée |
| title_fullStr | Poétisation et déréalisation de la ville au XIXème siècle : les tropes d’une littérature hantée |
| title_full_unstemmed | Poétisation et déréalisation de la ville au XIXème siècle : les tropes d’une littérature hantée |
| title_short | Poétisation et déréalisation de la ville au XIXème siècle : les tropes d’une littérature hantée |
| title_sort | poetisation et derealisation de la ville au xixeme siecle les tropes d une litterature hantee |
| topic | ville gothique flâneur défamiliarisation poétisation hypallage |
| url | https://journals.openedition.org/acs/1622 |
| work_keys_str_mv | AT francoisedupeyronlafay poetisationetderealisationdelavilleauxixemesieclelestropesdunelitteraturehantee |