Lire “Les Liaisons dangereuses” de Laclos par le prisme de l’œuvre quignardienne
The last short text in Pascal Quignard’s La Haine de la musique is called «Sur la fin des liaisons». By reinventing a happy ending to Laclos’ Liaisons dangereuses, Quignard offers a key for interpreting both his own work and that of Laclos. Far from being a simple exercise in dismantling the classic...
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| 出版年: | URI:https://journals.openedition.org/studifrancesi, |
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| 第一著者: | |
| フォーマット: | Article ou chapitre numérique |
| 言語: | Français |
| 出版事項: |
Studi Francesi
2016
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| オンライン･アクセス: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| 要約: | The last short text in Pascal Quignard’s La Haine de la musique is called «Sur la fin des liaisons». By reinventing a happy ending to Laclos’ Liaisons dangereuses, Quignard offers a key for interpreting both his own work and that of Laclos. Far from being a simple exercise in dismantling the classic dramatic conclusion of a moral novel or being a ludic game of rewriting a famous scene of fiction, Quignard’s version opens up an unexpected path to a deepened interpretation of both authors. The aim of this article is to throw a light on the vital reciprocal literary relationship between Quignard and Laclos and to analyse the complexity of this precise intertextual relationship. Three main points that emerge from this literary confluence will be discussed here: both writers develop a deep concern with language and its impossible transparency; both maintain a climate of indecidability in their works; and the similarities between Quignard’s fragmentary and Laclos’ epistolary writing invite the reader to rethink the issues of both forms. |
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