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Crisis of the pen and sovereignty of...

Valazza, Nicolas.

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Crisis of the pen and sovereignty of the paintbrush writings on painting from Diderot to Proust.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Crisis of the pen and sovereignty of the paintbrush writings on painting from Diderot to Proust./
Author:	Valazza, Nicolas.
Description:	345 p.
Notes:	Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3877.
Contained By:	Dissertation Abstracts International70-10A.
Subject:	Literature, Modern. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3381487
ISBN:	9781109422399

Crisis of the pen and sovereignty of the paintbrush writings on painting from Diderot to Proust.
Valazza, Nicolas.

Crisis of the pen and sovereignty of the paintbrush writings on painting from Diderot to Proust. - 345 p.

Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3877.

Thesis (Ph.D.)--The Johns Hopkins University, 2009.

This dissertation examines the development of the critical regime of writing, in relation with painting envisaged as a sovereign art. The corpus ranges from the second half of the eighteenth century to the beginning of the twentieth century, focusing on works by Diderot, Balzac, Baudelaire, Goncourt, Zola, Huysmans and Proust. I situate the emergence of the critical regime in Diderot's Salons, a series of texts in which art criticism asserts itself as a literary genre. My claim is that the first sign of a sovereign painting, no longer subject to the ut pictura poesis regime, is not found in the wordy commentaries of the Salons inspired by Vernet's landscapes or Greuze's scenes of everyday life, but rather---and paradoxically---in the silence of Diderot in front of Chardin's still lifes. Therefore, the critical regime first appears as a crisis of writing. However, after Diderot, this regime of writing is not restricted to art criticism: it extends to other genres, again in connection with sovereign painting, carrying a strong influence on the evolution of literary forms. As I observe, the most extreme manifestation of the sovereignty of painting appears in Le Chef-d'oeuvre inconnu by Balzac, in which the fictional painter Frenhofer comes to undermine the representational principle of figurative art. In this case, the sovereign painter---considered a "mad artist"---poses a threat to mimesis, a category at the foundation of literature as well as painting. Furthermore, the sovereignty of painting has a stylistic impact upon the literature of the second half of the nineteenth century. For instance, the Goncourt brothers' critical essay on Chardin's still lifes allows them to create a new kind of writing---called "ecriture artiste"---intended to convey the color of the object painted. This "pictorial style," as well as many other written manifestations of a sovereign painting, will eventually be incorporated into Proust's A la recherche du temps perdu. As I argue, this novel achieves a dissolution of the critical voice as well as an absorption of the space of painting, thus establishing a new textual regime.

ISBN: 9781109422399Subjects--Topical Terms:

624011
Literature, Modern.

Crisis of the pen and sovereignty of the paintbrush writings on painting from Diderot to Proust.
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245 1 0 $a Crisis of the pen and sovereignty of the paintbrush writings on painting from Diderot to Proust.
300 $a 345 p.
500 $a Source: Dissertation Abstracts International, Volume: 70-10, Section: A, page: 3877.
500 $a Adviser: Jacques Neefs.
502 $a Thesis (Ph.D.)--The Johns Hopkins University, 2009.
520 $a This dissertation examines the development of the critical regime of writing, in relation with painting envisaged as a sovereign art. The corpus ranges from the second half of the eighteenth century to the beginning of the twentieth century, focusing on works by Diderot, Balzac, Baudelaire, Goncourt, Zola, Huysmans and Proust. I situate the emergence of the critical regime in Diderot's Salons, a series of texts in which art criticism asserts itself as a literary genre. My claim is that the first sign of a sovereign painting, no longer subject to the ut pictura poesis regime, is not found in the wordy commentaries of the Salons inspired by Vernet's landscapes or Greuze's scenes of everyday life, but rather---and paradoxically---in the silence of Diderot in front of Chardin's still lifes. Therefore, the critical regime first appears as a crisis of writing. However, after Diderot, this regime of writing is not restricted to art criticism: it extends to other genres, again in connection with sovereign painting, carrying a strong influence on the evolution of literary forms. As I observe, the most extreme manifestation of the sovereignty of painting appears in Le Chef-d'oeuvre inconnu by Balzac, in which the fictional painter Frenhofer comes to undermine the representational principle of figurative art. In this case, the sovereign painter---considered a "mad artist"---poses a threat to mimesis, a category at the foundation of literature as well as painting. Furthermore, the sovereignty of painting has a stylistic impact upon the literature of the second half of the nineteenth century. For instance, the Goncourt brothers' critical essay on Chardin's still lifes allows them to create a new kind of writing---called "ecriture artiste"---intended to convey the color of the object painted. This "pictorial style," as well as many other written manifestations of a sovereign painting, will eventually be incorporated into Proust's A la recherche du temps perdu. As I argue, this novel achieves a dissolution of the critical voice as well as an absorption of the space of painting, thus establishing a new textual regime.
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