Ellison avec Barthes : occultation et désoccultation du « canon ethnique » dans Erasure de Percival Everett
Erasure is a work so replete with various forms of parody and pastiche that these strategies of rewriting constitute its thematic and formal core. The protagonist, Thelonious “Monk” Ellison, is himself an African American parodist, but one of his endeavors backfires, forcing him to play the neo-min...
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| Format: | Article ou chapitre numérique |
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2007
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| Online Access: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RFEA_110_0061RFEARevue française d’études américaines https://shs.cairn.info/revue-francaise-d-etudes-americaines-2006-4-page-61?lang=fr https://doi.org/10.3917/rfea.110.0061 Ellison avec Barthes : occultation et désoccultation du « canon ethnique » dans Erasure de Percival Everett Feith, Michel2007 « race »canonlittérature afro-américainemédiaparodiepostmodernisme“race”African American literaturecanonmediaparodypostmodernismfre Revue française d’études américaines | 110 | 4 | 2007-07-30 | p. 61-77 | 0397-7870 RFEA_11051 Erasure is a work so replete with various forms of parody and pastiche that these strategies of rewriting constitute its thematic and formal core. The protagonist, Thelonious “Monk” Ellison, is himself an African American parodist, but one of his endeavors backfires, forcing him to play the neo-minstrel part of a stereotypical “black writer.” The novel develops a poetics of allusion that implies a complex relationship with several “canons,” among which the poststructuralist doxa, represented by a parody of Barthes’s S/Z; ghetto novels predicated on the “black experience”; and, last but not least, Ralph Ellison’s Invisible Man. The various treatments range from downright burlesque and ridicule, to critical parody and pastiche-as-tribute. The relation of text to hypotext can take on an interventionist quality, indirectly performing the canonical operation of literary evaluation. The novel seems to be rather a negative ars poetica, a deconstruction of ethnic and national canons, than a refoundational enterprise: no “blueprints for Negro writing” are proposed. Yet, Ralph Ellison’s refusal to be limited to a “racial” province, and his advocacy of the literariness of the novel over its sociological significance, seem most congenial to Everett, and make him the real “ancestor” of the younger writer’s creative and comic wisdom.Cairn free access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| topic |
« race » canon littérature afro-américaine média parodie postmodernisme “race” African American literature canon media parody postmodernism |
| spellingShingle |
« race » canon littérature afro-américaine média parodie postmodernisme “race” African American literature canon media parody postmodernism Feith, Michel Ellison avec Barthes : occultation et désoccultation du « canon ethnique » dans Erasure de Percival Everett |
| topic_facet |
« race » canon littérature afro-américaine média parodie postmodernisme “race” African American literature canon media parody postmodernism |
| description |
Erasure is a work so replete with various forms of parody and pastiche that these strategies of rewriting constitute its thematic and formal core. The protagonist, Thelonious “Monk” Ellison, is himself an African American parodist, but one of his endeavors backfires, forcing him to play the neo-minstrel part of a stereotypical “black writer.” The novel develops a poetics of allusion that implies a complex relationship with several “canons,” among which the poststructuralist doxa, represented by a parody of Barthes’s S/Z; ghetto novels predicated on the “black experience”; and, last but not least, Ralph Ellison’s Invisible Man. The various treatments range from downright burlesque and ridicule, to critical parody and pastiche-as-tribute. The relation of text to hypotext can take on an interventionist quality, indirectly performing the canonical operation of literary evaluation. The novel seems to be rather a negative ars poetica, a deconstruction of ethnic and national canons, than a refoundational enterprise: no “blueprints for Negro writing” are proposed. Yet, Ralph Ellison’s refusal to be limited to a “racial” province, and his advocacy of the literariness of the novel over its sociological significance, seem most congenial to Everett, and make him the real “ancestor” of the younger writer’s creative and comic wisdom. |
| author |
Feith, Michel |
| author_facet |
Feith, Michel |
| author_sort |
Feith, Michel |
| title |
Ellison avec Barthes : occultation et désoccultation du « canon ethnique » dans Erasure de Percival Everett |
| title_short |
Ellison avec Barthes : occultation et désoccultation du « canon ethnique » dans Erasure de Percival Everett |
| title_full |
Ellison avec Barthes : occultation et désoccultation du « canon ethnique » dans Erasure de Percival Everett |
| title_fullStr |
Ellison avec Barthes : occultation et désoccultation du « canon ethnique » dans Erasure de Percival Everett |
| title_full_unstemmed |
Ellison avec Barthes : occultation et désoccultation du « canon ethnique » dans Erasure de Percival Everett |
| title_sort |
ellison avec barthes : occultation et désoccultation du « canon ethnique » dans erasure de percival everett |
| publishDate |
2007 |
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| container_issue |
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| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-francaise-d-etudes-americaines-2006-4-page-61?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rfea.110.0061 |
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