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French

ID: <

10670/1.nw8mzo

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The popular sources of Aragonian Roman in “Le Monde Real”: foliage and miscellaneous

Abstract

In 1934, when Aragon began writing the ‘Cloches de Basel’ and then the ‘Monde Real’, expressing his willingness to offer socialist realism a French version, and aimed at a wider readership, he had popular models which he would not hesitate to grasp. Aimed at as many people as possible, Belle’s popular literature, which he knows through his childhood readings, then by his own mother’s writer, and journalistic writing, which he practises between 1933 and 1934, appear to be possible sources of regeneration of Roman art. Articles dealing with various bloody faitts, whether or not written by Aragon in these years (‘L’Humanité’), predict a trend towards spectacular dramatisation of the Roman intrigue, and reveal a taste of bloody and passional murder. Aragon uses the various facts to induce narrative bifurcations or uses them as parenthesis for the purpose of political denunciation. ‘The Beaux quarters’ is the novel most marked by the leaf aesthetic: short chapters, theatre cups and outstanding effects located at the end of chapters, alternating between intrigues, amalgam and recognition scenes, melodramatic figures. The story of Jeanne Cartuywels appears to be a variant of the ‘novel of the victim’ of the Belle Époque, where Jeanne herself enrolled in a long parentage of attractive, deceptive or raped women, while colombin, his aggressor and his tyran revived the type of red, malicious and sensuel character, praised by popular literature. Aragon thus walks in the traces of the great popular romanciers, themselves heirs of the mellodrame. But it does so with ostentation: comments from the author in his/her text show that the string used is not duplicated. The novels of the last period (after ‘The Holy Week’, 1958) will still sometimes refer to the folio and various facts, but always critically, preventing the reader from (re) plating into the referential illusion.

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