{"id":351,"date":"2007-01-30T17:59:41","date_gmt":"2007-01-30T16:59:41","guid":{"rendered":"http:\/\/jy.reysset.free.fr\/wordpress\/?p=351"},"modified":"2008-07-10T10:39:37","modified_gmt":"2008-07-10T09:39:37","slug":"la-chartreuse-de-parme-edition-critique-par-michel-crouzet","status":"publish","type":"post","link":"https:\/\/stendhal.fr\/?p=351","title":{"rendered":"La Chartreuse de Parme \u00c9dition critique par Michel Crouzet"},"content":{"rendered":"<p align=\"center\">&nbsp;<\/p>\n<p align=\"center\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/jy.reysset.free.fr\/wordpress\/wp-content\/2007\/01\/hol03-stendhal.miniature.jpg\" align=\"middle\" height=\"128\" width=\"87\" \/><br \/>\n39\u20ac, 672pages. Cousu<br \/>\n2007, ISBN 978-2-86878-249-3<br \/>\nCollection Hologrammes\n<\/p>\n<p align=\"center\"><iframe src=\"http:\/\/rcm-fr.amazon.fr\/e\/cm?t=sitesten-21&amp;o=8&amp;p=8&amp;l=as1&amp;asins=2868782493&amp;fc1=000000&amp;IS2=1&amp;lt1=_blank&amp;lc1=0000FF&amp;bc1=000000&amp;bg1=FFFFFF&amp;f=ifr\" style=\"width: 120px; height: 240px\" marginwidth=\"0\" marginheight=\"0\" frameborder=\"0\" scrolling=\"no\"><\/iframe><\/p>\n<p align=\"center\">\u00c9dition critique contenant les notes et additions de<br \/>\nStendhal par Michel Crouzet\n<\/p>\n<p align=\"left\">La diff\u00e9rence stendhalienne n\u2019a cess\u00e9 de d\u00e9concerter ses \u00e9diteurs. Stendhal brouille la fronti\u00e8re entre livre et manuscrit: il compl\u00e8te, corrige, r\u00e9\u00e9crit la premi\u00e8re \u00e9dition de <em>La Chartreuse de Parme <\/em>et nous l\u00e8gue un texte pluriel, en devenir \u2013 impubliable? Cette \u00e9dition rel\u00e8ve le d\u00e9fi. \u00c9tablie \u00e0 partir du texte de 1839, enrichie des notes, ajouts et retraits collect\u00e9s sur tous les exemplaires annot\u00e9s par Stendhal, elle se rapproche de cette <em>Chartreuse de 1860 <\/em>en trois volumes \u00e0 laquelle il songeait. Nous avons conserv\u00e9 les fantaisies orthographiques de son italien, les \u00e9tranget\u00e9s de sa phrase organis\u00e9e \u00e0 partir d\u2019une ponctuation audacieuse et inimitable, la coul\u00e9e de son paragraphe et de sa page. Roman miraculeux, roman exemplaire, <em>La Chartreuse <\/em>\u00e9clate d\u2019un vouloir-vivre joyeux et tragique. Dans l\u2019Italie du XIXe si\u00e8cle, la r\u00e9alit\u00e9 s\u2019\u00e9l\u00e8ve d\u2019elle-m\u00eame au fabuleux, \u00e0 l\u2019aventure; l\u2019histoire confine au romanesque, \u00e0 l\u2019op\u00e9ra bouffe, \u00e0 la com\u00e9die de cour. Stendhal nous parle d\u2019h\u00e9ro\u00efsme, \u00e0 travers les figures du sublime passionnel que sont la vengeance, l\u2019inceste, le tyrannicide, et de la na\u00efvet\u00e9 d\u2019un h\u00e9ros \u00e0 \u00abl\u2019air cornichon\u00bb.<\/p>\n<p align=\"center\"><strong>\u00c9<\/strong><strong>ditions <\/strong><strong>Paradigme<\/strong><\/p>\n<p align=\"center\">14, quai Saint-Laurent, 45000 Orl\u00e9ans<\/p>\n<p align=\"center\">T\u00e9l. : 02 38 70 84 44 \u2013 Fax : 02 38 70 56 76<\/p>\n<p align=\"center\">commercial@paradigme.com<\/p>\n<p align=\"center\"><a href=\"http:\/\/www.paradigme.com\/\" target=\"_blank\">www.paradigme.com<strong> <\/strong><\/a><\/p>\n<p> Pr\u00e9face<\/p>\n<p>\u00ab<em>La Chartreuse de Parme<\/em> de 1860\u00bb<\/p>\n<p><em>D\u00e8s la premi\u00e8re parution, Stendhal r\u00eave d\u2019une \u00e9dition en 3 volumes pour 1860 et commence \u00e0 y travailler. Le propos de notre \u00e9dition, qui fournit et organise les \u00e9l\u00e9ments qu\u2019il a laiss\u00e9s, est de s\u2019en approcher. <\/em><\/p>\n<p>Histoire du texte. Principes de l\u2019\u00e9dition.<\/p>\n<p>Symboles et abr\u00e9viations<\/p>\n<p>LA CHARTREUSE DE PARME<\/p>\n<p><em>Texte \u00e9tabli \u00e0 partir de l\u2019\u00e9dition de 1839.<br \/>\nOnt \u00e9t\u00e9 ajout\u00e9s en notes les commentaires, variantes et additions de Stendhal figurant sur les exemplaires Chaper, Lingay et Royer, ainsi que les variantes relev\u00e9es dans les \u00e9ditions de 1846 et 1853. <\/em><\/p>\n<p>Appendices<\/p>\n<p>Chapitres compl\u00e9mentaires<\/p>\n<p><em>La Chartreuse de Parme<\/em> et les manuscrits italiens<\/p>\n<p>Marginales en libert\u00e9<\/p>\n<p><em>    Relev\u00e9 des annotations port\u00e9es par Stendhal sur les pages de d\u00e9but et de fin des exemplaires Chaper, Lingay et Royer. <\/em><\/p>\n<p>Projets de r\u00e9ponse \u00e0 l\u2019article de Balzac<\/p>\n<p>Notes de Michel Crouzet<\/p>\n<p>Chronologie \u2013 Bibliographie<\/p>\n<p align=\"center\">COLLECTION<\/p>\n<p align=\"center\">HOLOGRAMMES<\/p>\n<p align=\"center\">Publier des \u00e9ditions qui r\u00e9v\u00e8lent une \u00ab image<br \/>\ntotale \u00bb de l\u2019\u00e9crit.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; 39\u20ac, 672pages. Cousu 2007, ISBN 978-2-86878-249-3 Collection Hologrammes \u00c9dition critique contenant les notes et additions de Stendhal par Michel Crouzet La diff\u00e9rence stendhalienne n\u2019a cess\u00e9 de d\u00e9concerter ses \u00e9diteurs. Stendhal brouille la fronti\u00e8re entre livre et manuscrit: il compl\u00e8te, &hellip; <a href=\"https:\/\/stendhal.fr\/?p=351\">Continuer la lecture <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","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":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[],"class_list":["post-351","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-5F","jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/stendhal.fr\/index.php?rest_route=\/wp\/v2\/posts\/351","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=351"}],"version-history":[{"count":0,"href":"https:\/\/stendhal.fr\/index.php?rest_route=\/wp\/v2\/posts\/351\/revisions"}],"wp:attachment":[{"href":"https:\/\/stendhal.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=351"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/stendhal.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=351"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/stendhal.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=351"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}