{"id":1096,"date":"2016-03-12T11:23:59","date_gmt":"2016-03-12T10:23:59","guid":{"rendered":"http:\/\/www.stendhal.fr\/?p=1096"},"modified":"2016-03-12T11:26:00","modified_gmt":"2016-03-12T10:26:00","slug":"stendhal-merimee-et-les-ecrivains-romantiques-le-sang-la-violence-et-la-mort","status":"publish","type":"post","link":"https:\/\/stendhal.fr\/?p=1096","title":{"rendered":"Stendhal, M\u00e9rim\u00e9e et les \u00e9crivains romantiques. Le sang, la violence et la mort"},"content":{"rendered":"<p style=\"text-align: center;\">STENDHAL, M\u00c9RIM\u00c9E ET LES \u00c9CRIVAINS ROMANTIQUES.<br \/>\nLE SANG, LA VIOLENCE ET LA MORT<\/p>\n<p style=\"text-align: center;\">\u00c9tudes r\u00e9unies<br \/>\net pr\u00e9sent\u00e9es par<br \/>\nMichel ARROUS<\/p>\n<p style=\"text-align: center;\">Paris, <a href=\"http:\/\/www.euredit-editions.com\/f\/index.php?sp=nouv\" target=\"_blank\">Eur\u00e9dit<\/a>, f\u00e9vrier 2016, 291 p.<br \/>\nNouvelle \u00e9dition des actes du colloque de PARIS-INHA SORBONNE 5-6 octobre 2007<\/p>\n<p>&nbsp;<\/p>\n<p>TABLE DES MATI\u00c8RES<\/p>\n<p>Pr\u00e9sentation<br \/>\npar Michel Arrous<\/p>\n<p>Visions romantiques de la Terreur<br \/>\npar Max Andr\u00e9oli<\/p>\n<p>Repr\u00e9senter la mort sur la sc\u00e8ne romantique\u00a0: enjeux et pol\u00e9miques<br \/>\npar Sylvain Ledda<\/p>\n<p>La violence et la mort chez quelques \u00e9crivains danois ou M\u00e9rim\u00e9e au Danemark<br \/>\npar Merette Gerlach-Nielsen<\/p>\n<p><em>La Vie errante<\/em> ou la prescience d\u2019une mort heureuse<br \/>\npar Marie Makropoulou<\/p>\n<p>Des loups et des hommes\u00a0: l\u2019expression de la justice dans <em>Madame Putiphar<\/em> de P\u00e9trus Borel le lycanthrope<br \/>\npar Claudie Bernard<\/p>\n<p>Des <em>Natchez<\/em> aux <em>Martyrs<\/em>\u00a0: violence de l\u2019\u00e9ros dans l\u2019\u0153uvre de Chateaubriand<br \/>\npar Fabienne Bercegol<\/p>\n<p>Le Gai savoir romantique de la violence (M\u00e9rim\u00e9e, Stendhal)<br \/>\npar Christine Marcandier<\/p>\n<p><em>Les Cenci<\/em> au confluent des l\u00e9gendes, des mythes et des th\u00e8mes romantiques<br \/>\npar Jacques Birnberg<\/p>\n<p>Une po\u00e9tique du saisissement\u00a0: les derniers instants du condamn\u00e9 \u00e0 mort dans la IIe lettre d\u2019Espagne (\u00ab\u00a0Une ex\u00e9cution\u00a0\u00bb)<br \/>\npar Fran\u00e7ois G\u00e9al<\/p>\n<p>La <em>Chronique du r\u00e8gne de Charles IX<\/em>\u00a0: n\u00e9vrose individuelle et psychose collective<br \/>\npar Thierry Ozwald<\/p>\n<p><em>Barbarus hic ego sum quia non intelligor illis<\/em>. Stendhal ou l\u2019autre romantisme<br \/>\npar H\u00e9l\u00e8ne Spengler<\/p>\n<p>La corrida\u00a0: une trag\u00e9die romantique\u00a0? Prosper M\u00e9rim\u00e9e \u00e0 cinq heures de l\u2019apr\u00e8s-midi<br \/>\npar Clarisse R\u00e9qu\u00e9na<\/p>\n<p>Le Don Juan de M\u00e9rim\u00e9e\u00a0: la violence et le sacr\u00e9<br \/>\npar Joseph-Marc Bailb\u00e9<\/p>\n<p>Tombes de femmes \u00e0 Rome<br \/>\npar Andr\u00e9e Mansau<\/p>\n<p>La mise en sc\u00e8ne de la mort dans l\u2019op\u00e9ra <em>Otello<\/em> de Rossini et ses r\u00e9sonances stendhaliennes<br \/>\npar Suzel Esquier<\/p>\n<p>\u00ab\u00a0Les Registres de l\u2019exc\u00e8s\u00a0\u00bb dans <em>Carmen<\/em><br \/>\npar Liliane Lascoux<\/p>\n<p>Baudelaire et Stendhal critiques d\u2019art autour de la figure de Delacroix\u00a0: le \u00ab\u00a0sauvage\u00a0\u00bb en peinture<br \/>\npar Fanny B\u00e9rat-Esquier<\/p>\n","protected":false},"excerpt":{"rendered":"<p>STENDHAL, M\u00c9RIM\u00c9E ET LES \u00c9CRIVAINS ROMANTIQUES. LE SANG, LA VIOLENCE ET LA MORT \u00c9tudes r\u00e9unies et pr\u00e9sent\u00e9es par Michel ARROUS Paris, Eur\u00e9dit, f\u00e9vrier 2016, 291 p. Nouvelle \u00e9dition des actes du colloque de PARIS-INHA SORBONNE 5-6 octobre 2007 &nbsp; TABLE &hellip; <a href=\"https:\/\/stendhal.fr\/?p=1096\">Continuer la lecture <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[],"class_list":["post-1096","post","type-post","status-publish","format-standard","hentry","category-nouvelles-publications"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p34K8b-hG","jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/stendhal.fr\/index.php?rest_route=\/wp\/v2\/posts\/1096","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/stendhal.fr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/stendhal.fr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/stendhal.fr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/stendhal.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1096"}],"version-history":[{"count":3,"href":"https:\/\/stendhal.fr\/index.php?rest_route=\/wp\/v2\/posts\/1096\/revisions"}],"predecessor-version":[{"id":1099,"href":"https:\/\/stendhal.fr\/index.php?rest_route=\/wp\/v2\/posts\/1096\/revisions\/1099"}],"wp:attachment":[{"href":"https:\/\/stendhal.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1096"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/stendhal.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1096"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/stendhal.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1096"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}