Cet article part de l'écriture en cours d'un roman. Prenant pour cadre le littoral breton, ce livre évoque l'océan comme un milieu vivant. Même si les humains, océanographes et plongeurs, occupent le premier plan, je souhaite y ménager une large place aux vivants autres qu'humains. Partant des exemples des fous de Bassan, des phoques gris et d'espèces planctoniques, je cherche à comprendre ce qui détermine leur représentation en tant que personnages du récit, actants des écosystèmes ou figurants de l'environnement choisi. En se demandant s'il faut respecter ou transcender les limites de notre connaissance des animaux, on verra que la zoopoétique nous en apprend autant sur la structuration de notre esprit et sur ce que nous attendons d'un récit que sur les vies animales elles-mêmes.
Une certaine pratique du voyage permet de lutter contre la construction des murs identitaires et l'indifférence aux exils forcés. Comme le suggère Edouard Glissant, elle permet à la fois de préserver et de permettre la diversité biologique et culturelle.
International audience ; This article explores the relationships between storytelling and contemporary capitalism. It claims that we have to put in perspective the rights of ownership that literature is considered to have over narrative fiction: The oral tradition and the cultural industries started competing with literature in this field long before the players of the economic and political world, inspired by the principles of storytelling management, began using their codes. Knowing how to tell stories and how to talk about oneself is a key skill, especially when you want to move and take new positions in our career-driven societies. Based on the analysis of novels by Tom Wolfe and Éric Reinhardt, this article tries to understand the types of self-narratives that narrative capitalism invites us to produce, for ourselves or for others, and in what ways literature stages the production and circulation of these stories. There are, on the one hand, those who do not manage to talk about themselves anymore, who have lost this storytelling skill, and experience failure; and, on the other hand, the capable narrators, but whose uses of narrative vary from opportunism to radical opposition, from a pragmatic honesty to the choice of a form of piracy. ; Il faut relativiser les droits de propriété de la littérature sur la fiction narrative : la tradition orale, les industries culturelles l'ont concurrencée dans ce domaine bien avant que les acteurs du monde économique et politique inspirés par les principes du storytelling management ne s'y attellent à leur tour. Savoir raconter et se raconter est une compétence primordiale, en particulier quand on aspire à changer de place au sein de nos sociétés de carrières. En s'appuyant entre autres sur les romans de Tom Wolfe et d'Éric Reinhardt, il s'agit de voir quels types de récits de soi le capitalisme narratif nous incite à produire, pour nous-mêmes ou pour les autres, et de quelles manières la littérature met en scène la fabrication et la circulation de ces récits. À ceux qui ...
International audience ; This article explores the relationships between storytelling and contemporary capitalism. It claims that we have to put in perspective the rights of ownership that literature is considered to have over narrative fiction: The oral tradition and the cultural industries started competing with literature in this field long before the players of the economic and political world, inspired by the principles of storytelling management, began using their codes. Knowing how to tell stories and how to talk about oneself is a key skill, especially when you want to move and take new positions in our career-driven societies. Based on the analysis of novels by Tom Wolfe and Éric Reinhardt, this article tries to understand the types of self-narratives that narrative capitalism invites us to produce, for ourselves or for others, and in what ways literature stages the production and circulation of these stories. There are, on the one hand, those who do not manage to talk about themselves anymore, who have lost this storytelling skill, and experience failure; and, on the other hand, the capable narrators, but whose uses of narrative vary from opportunism to radical opposition, from a pragmatic honesty to the choice of a form of piracy. ; Il faut relativiser les droits de propriété de la littérature sur la fiction narrative : la tradition orale, les industries culturelles l'ont concurrencée dans ce domaine bien avant que les acteurs du monde économique et politique inspirés par les principes du storytelling management ne s'y attellent à leur tour. Savoir raconter et se raconter est une compétence primordiale, en particulier quand on aspire à changer de place au sein de nos sociétés de carrières. En s'appuyant entre autres sur les romans de Tom Wolfe et d'Éric Reinhardt, il s'agit de voir quels types de récits de soi le capitalisme narratif nous incite à produire, pour nous-mêmes ou pour les autres, et de quelles manières la littérature met en scène la fabrication et la circulation de ces récits. À ceux qui n'arrivent plus à se raconter, et que cette perte de la compétence narrative pousse vers la chute, s'opposent des narrateurs compétents, mais dont les usages du récit varient de l'opportunisme à l'opposition radicale, en passant par l'honnêteté pragmatique et le choix d'une forme de piraterie.
International audience ; This article explores the relationships between storytelling and contemporary capitalism. It claims that we have to put in perspective the rights of ownership that literature is considered to have over narrative fiction: The oral tradition and the cultural industries started competing with literature in this field long before the players of the economic and political world, inspired by the principles of storytelling management, began using their codes. Knowing how to tell stories and how to talk about oneself is a key skill, especially when you want to move and take new positions in our career-driven societies. Based on the analysis of novels by Tom Wolfe and Éric Reinhardt, this article tries to understand the types of self-narratives that narrative capitalism invites us to produce, for ourselves or for others, and in what ways literature stages the production and circulation of these stories. There are, on the one hand, those who do not manage to talk about themselves anymore, who have lost this storytelling skill, and experience failure; and, on the other hand, the capable narrators, but whose uses of narrative vary from opportunism to radical opposition, from a pragmatic honesty to the choice of a form of piracy. ; Il faut relativiser les droits de propriété de la littérature sur la fiction narrative : la tradition orale, les industries culturelles l'ont concurrencée dans ce domaine bien avant que les acteurs du monde économique et politique inspirés par les principes du storytelling management ne s'y attellent à leur tour. Savoir raconter et se raconter est une compétence primordiale, en particulier quand on aspire à changer de place au sein de nos sociétés de carrières. En s'appuyant entre autres sur les romans de Tom Wolfe et d'Éric Reinhardt, il s'agit de voir quels types de récits de soi le capitalisme narratif nous incite à produire, pour nous-mêmes ou pour les autres, et de quelles manières la littérature met en scène la fabrication et la circulation de ces récits. À ceux qui ...
International audience ; In this article, I reflect on what a democratic literature could look like, within the field of novelistic fiction. A first approach consists of defining democracy as a method and a form of government. The fictions that work within this definition are relatively rare, on the one hand because democracy is already a privileged theme within public conversation and the social sciences, and on the other hand because the contemporary writers who are the most professionalized are rarely those who have intimate knowledge of the political world's inner workings. These literary texts that represent democracy are nevertheless devoted, above all, to indicating the gap between what democracy is and what it should be. A second approach consists, for novelists, of transforming their novels into a democratic space: they can transform fiction into an emotional and theoretical experience that proves that equality is an unalienable right (as Rancière shows), and can redistribute speech and attention by putting foregrounding otherwise marginalized subjects. Finally, a third approach consists of investigating how literature circulates in public. Le Clézio, reading Dagerman, insists that even the literature that hopes to support society's weakest is, nonetheless, a cultural pastime of the cultivated elite classes. To open to the largest number of people possible is, for literature, an impossible demand: after a certain point, the desire to appeal to a larger readership works against singularity and aesthetic precision. But the democratic spirit implies that we must get rid of everything that comes from a position of preciousness, or from "strategies of distinction" (Bourdieu). As long as it negotiates, in each moment, a balance between aesthetic precision and readability, literature can accelerate the process of individual emancipation, and can communicate to every subject, in the words of Kafka: "You also have weapons." ; Dans cet article, je m'interroge pour savoir ce que veut dire écrire une littérature ...
International audience ; In this article, I reflect on what a democratic literature could look like, within the field of novelistic fiction. A first approach consists of defining democracy as a method and a form of government. The fictions that work within this definition are relatively rare, on the one hand because democracy is already a privileged theme within public conversation and the social sciences, and on the other hand because the contemporary writers who are the most professionalized are rarely those who have intimate knowledge of the political world's inner workings. These literary texts that represent democracy are nevertheless devoted, above all, to indicating the gap between what democracy is and what it should be. A second approach consists, for novelists, of transforming their novels into a democratic space: they can transform fiction into an emotional and theoretical experience that proves that equality is an unalienable right (as Rancière shows), and can redistribute speech and attention by putting foregrounding otherwise marginalized subjects. Finally, a third approach consists of investigating how literature circulates in public. Le Clézio, reading Dagerman, insists that even the literature that hopes to support society's weakest is, nonetheless, a cultural pastime of the cultivated elite classes. To open to the largest number of people possible is, for literature, an impossible demand: after a certain point, the desire to appeal to a larger readership works against singularity and aesthetic precision. But the democratic spirit implies that we must get rid of everything that comes from a position of preciousness, or from "strategies of distinction" (Bourdieu). As long as it negotiates, in each moment, a balance between aesthetic precision and readability, literature can accelerate the process of individual emancipation, and can communicate to every subject, in the words of Kafka: "You also have weapons." ; Dans cet article, je m'interroge pour savoir ce que veut dire écrire une littérature ...
International audience ; In this article, I reflect on what a democratic literature could look like, within the field of novelistic fiction. A first approach consists of defining democracy as a method and a form of government. The fictions that work within this definition are relatively rare, on the one hand because democracy is already a privileged theme within public conversation and the social sciences, and on the other hand because the contemporary writers who are the most professionalized are rarely those who have intimate knowledge of the political world's inner workings. These literary texts that represent democracy are nevertheless devoted, above all, to indicating the gap between what democracy is and what it should be. A second approach consists, for novelists, of transforming their novels into a democratic space: they can transform fiction into an emotional and theoretical experience that proves that equality is an unalienable right (as Rancière shows), and can redistribute speech and attention by putting foregrounding otherwise marginalized subjects. Finally, a third approach consists of investigating how literature circulates in public. Le Clézio, reading Dagerman, insists that even the literature that hopes to support society's weakest is, nonetheless, a cultural pastime of the cultivated elite classes. To open to the largest number of people possible is, for literature, an impossible demand: after a certain point, the desire to appeal to a larger readership works against singularity and aesthetic precision. But the democratic spirit implies that we must get rid of everything that comes from a position of preciousness, or from "strategies of distinction" (Bourdieu). As long as it negotiates, in each moment, a balance between aesthetic precision and readability, literature can accelerate the process of individual emancipation, and can communicate to every subject, in the words of Kafka: "You also have weapons." ; Dans cet article, je m'interroge pour savoir ce que veut dire écrire une littérature démocratique, dans le domaine de la fiction romanesque. Une première approche consiste à saisir la démocratie en tant que régime et forme de gouvernement. Les fictions qui s'y emploient sont relativement rares, d'une part parce que la démocratie est déjà un thème privilégié du débat public et des sciences humaines, et d'autre part car les écrivains contemporains les plus professionnalisés sont rarement ceux qui connaissent le mieux de l'intérieur le monde politique. Les textes littéraires qui représentent la démocratie, néanmoins, se consacrent avant tout à pointer l'écart entre ce qu'elle est et ce qu'elle devrait être. Une deuxième approche consiste pour les romanciers à constituer leur œuvre en un espace démocratique : ils peuvent faire de la fiction une expérience de pensée qui prouve que rien ne s'oppose en droit à l'égalité (comme le montre Rancière), et redistribuer de façon plus égalitaire la parole et l'attention en mettant au premier plan les sujets marginalisés. Une troisième approche enfin consiste à questionner la circulation de la littérature dans l'espace public. Le Clézio, lisant Dagerman, insiste sur le fait que même la littérature qui voudrait se ranger du côté des plus faibles est avant tout le loisir culturel des classes cultivées. S'ouvrir au plus grand nombre est pour la littérature une exigence intenable : passée un certain point, la recherche de lisibilité se fait toujours au détriment de la singularité et de la justesse esthétique. Mais l'esprit démocratique implique en revanche de se débarrasser de tout ce qui relève de la préciosité ou de stratégies de distinction (Bourdieu). À condition de négocier à chaque instant un équilibre entre justesse et lisibilité, la littérature peut accélérer des émancipations individuelles et faire entendre à chaque sujet, selon les mots de Kafka : « Toi aussi, tu as des armes. »
Face à la guerre des frontières, les réponses politiques oscillent entre le dérisoire et le criminel. Il importe dans ce contexte d'entendre les réfugiés dénoncer les humiliations qu'ils subissent, l'arbitraire des décisions administratives, la présomption de culpabilité dont ils font l'objet, mais aussi réclamer un dépassement des préjugés et une reconnaissance de leurs droits.
