Narrative Improvisations: Balzac’s “Facino Cane”
In this discussion intended to complement existing studies of Facino Cane, it is argued that Balzac’s short narrative is the product of a persistent reflection on storytelling and on the status of the composition as writing. Balzac is shown to make extensive reference to a range of other texts inclu...
保存先:
| 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: | Anglais |
| 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: | In this discussion intended to complement existing studies of Facino Cane, it is argued that Balzac’s short narrative is the product of a persistent reflection on storytelling and on the status of the composition as writing. Balzac is shown to make extensive reference to a range of other texts including Les Mille et Une Nuits and Dante’s Inferno, while his representation of the blind musicians is shown to relate similarly to a prominent literary and graphic tradition that begins with Montesquieu and takes in, for example, L.-S. Mercier, E. de Jouy, and contemporary Parisian guidebooks. There follows an examination of the distinctive play on proper names and of the way the text is generated by a select number of associative chains. It is claimed that the perceptible ambiguities of the composition stem from this self-reflexive and ludic art of improvisation. |
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