{"id":498,"date":"2009-08-15T09:48:40","date_gmt":"2009-08-15T08:48:40","guid":{"rendered":"http:\/\/www.stendhal.fr\/?p=498"},"modified":"2012-12-28T16:21:46","modified_gmt":"2012-12-28T15:21:46","slug":"recherches-travaux-n%c2%b074-le-ton-stendhal","status":"publish","type":"post","link":"https:\/\/stendhal.fr\/?p=498","title":{"rendered":"Recherches &#038; Travaux n\u00b074 : Le ton Stendhal"},"content":{"rendered":"<p class=\"texte_article_actualites\">&nbsp;<\/p>\n<p align=\"center\"><strong><em>Recherches &amp; Travaux<\/em>, n\u00b074\u00a0: <em>Le ton Stendhal<\/em><\/strong><\/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=2843101468&amp;fc1=000000&amp;IS2=1&amp;lt1=_blank&amp;m=amazon&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\">Grenoble\u00a0:  <a href=\"http:\/\/w3.u-grenoble3.fr\/ellug\/index.html\/\" title=\"ELLUG\" target=\"_blank\">\u00c9ditions litt\u00e9raires et linguistiques de l&rsquo;universit\u00e9 de Grenoble<\/a>, juillet 2009, 198 p.<\/p>\n<p align=\"center\">ISBN\u00a0: 978-2-84310-146-5<\/p>\n<p align=\"center\">Prix\u00a0: 13 \u20ac<\/p>\n<p>La notion de \u00ab\u00a0ton\u00a0\u00bb est g\u00e9n\u00e9ralement d\u00e9laiss\u00e9e, dans les \u00e9tudes litt\u00e9raires, abandonn\u00e9e au registre impressionniste ou m\u00e9taphorique, et s&rsquo;en trouve par cons\u00e9quent mal fam\u00e9e. Paul Val\u00e9ry en fit pourtant la clef de la po\u00e9tique stendhalienne. Quelle r\u00e9alit\u00e9 ce terme improprement th\u00e9orique, h\u00e9ritier de la \u00ab\u00a0mani\u00e8re\u00a0\u00bb et du \u00ab\u00a0je-ne-sais-quoi\u00a0\u00bb, et plus r\u00e9tif \u00e0 la description que la question du style, recouvre-t-il, et particuli\u00e8rement dans le cas de Stendhal\u00a0? C&rsquo;est ce que les diff\u00e9rents articles tentent ici d&rsquo;explorer en envisageant la question dans plusieurs de ses dimensions\u00a0: le recueil comporte ainsi des r\u00e9flexions g\u00e9n\u00e9rales sur le concept de ton (son statut trans-esth\u00e9tique, ses diff\u00e9rentes ententes, sa relation au style&#8230;), il compte aussi des examens plus rapproch\u00e9s de textes stendhaliens (sur le ton des incipit, dans le discours int\u00e9rieur&#8230;) ainsi que \u00e9tudes sur les fonctions et usages de la notion\u00a0: les rapport ton\/th\u00e9\u00e2tre, le strat\u00e9gie rh\u00e9torique, les registres (le fantastique, le \u00ab\u00a0mauvais ton\u00a0\u00bb&#8230;).<br \/>\nSommaire\u00a0:<\/p>\n<p>Philippe Jousset, \u00ab\u00a0Le ton Stendhal\u00a0: postures, allures, textures\u00a0\u00bb.<\/p>\n<p>DU TON EN G\u00c9N\u00c9RAL ET DU RYTHME EN PARTICULIER<br \/>\nFran\u00e7ois Vanoosthuyse, \u00ab\u00a0Le ton du texte\u00a0: une aporie po\u00e9tique\u00a0?\u00a0\u00bb\u00a0;<br \/>\n\u00c9ric Bordas, \u00ab\u00a0En majeur ou en mineur\u00a0? Tonalit\u00e9s et modalit\u00e9s des <em>incipit<\/em> romanesques stendhaliens\u00a0\u00bb\u00a0;<br \/>\nPhilippe Jousset, \u00ab\u00a0L&rsquo;\u00e9conomie du ton. R\u00e9flexions \u00e0 partir des premi\u00e8res pages de Lucien Leuwen\u00a0\u00bb\u00a0;<br \/>\nKarin Gundersen, \u00ab\u00a0Les tilleuls du minist\u00e8re de la Guerre\u00a0\u00bb.<\/p>\n<p>UN TH\u00c9\u00c2TRE INTIME<br \/>\nAgathe Novak-Lechevalier, \u00ab\u00a0Le ton du roman stendhalien\u00a0: un anti-th\u00e9\u00e2tre\u00a0?\u00a0\u00bb\u00a0;<br \/>\nMarie Parmentier, \u00ab\u00a0\u00ab\u00a0Le ton le plus individuel qu&rsquo;il soit en litt\u00e9rature\u00a0\u00bb. De la singularit\u00e9 sublime \u00e0 l&rsquo;efficacit\u00e9 rh\u00e9torique\u00a0\u00bb\u00a0;<br \/>\nLaure Lassagne, \u00ab\u00a0Ton du discours int\u00e9rieur dans les romans de Stendhal\u00a0\u00bb.<\/p>\n<p>LE MAUVAIS TON<br \/>\nDaniel Sangsue, \u00ab\u00a0Stendhal fantastiqueur\u00a0\u00bb\u00a0;<br \/>\nGeorges Kliebenstein, \u00ab\u00a0Stendhal et le scandale tonal\u00a0: le d\u00e9ton(n)ant et le b\u00ealant\u00a0\u00bb\u00a0;<br \/>\nPierre Laforgue, \u00ab\u00a0Le mauvais ton de Stendhal. Les comptes rendus du <em>Rouge et le Noir<\/em> en 1830-1831\u00a0\u00bb\u00a0;<br \/>\nGeorges Mathieu, \u00ab\u00a0Stendhal pornographe\u00a0!\u00a0\u00bb.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; Recherches &amp; Travaux, n\u00b074\u00a0: Le ton Stendhal Grenoble\u00a0: \u00c9ditions litt\u00e9raires et linguistiques de l&rsquo;universit\u00e9 de Grenoble, juillet 2009, 198 p. ISBN\u00a0: 978-2-84310-146-5 Prix\u00a0: 13 \u20ac La notion de \u00ab\u00a0ton\u00a0\u00bb est g\u00e9n\u00e9ralement d\u00e9laiss\u00e9e, dans les \u00e9tudes litt\u00e9raires, abandonn\u00e9e au registre &hellip; <a href=\"https:\/\/stendhal.fr\/?p=498\">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":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2],"tags":[],"class_list":["post-498","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-82","jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/stendhal.fr\/index.php?rest_route=\/wp\/v2\/posts\/498","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=498"}],"version-history":[{"count":0,"href":"https:\/\/stendhal.fr\/index.php?rest_route=\/wp\/v2\/posts\/498\/revisions"}],"wp:attachment":[{"href":"https:\/\/stendhal.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=498"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/stendhal.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=498"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/stendhal.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=498"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}