In the era of plastic, a shapeless, opaque and transparent matter, with its changing features, typical of hybridism in narrative forms, the conformism of manifold and repetitive sufferance, organized as an obsessive parable of humanity, stands out as one of the major trends of the production of the Extrême contemporain. The analysis of three works in particular - Je l’aimais by Anna Gavalda (Le Dilettante, 2002), L’Ongle rose by Sylvie Garcia (Lagrasse, 2002) and Caspar Friedrich Strasse by Cécile Wajsbrot (Zulma, 2002) - reveals the characteristics of political correctness, identifying a set of clichés ranging from the aspects of outward (the passive permeability of narration to History) and inner literary conformity (writing intended as a confession and purification) to forms of cultural authentication (the dominance of what is told on what is narrated; of the visual on the imaginary) without neglecting the conformism of anti-conformism (empty clichés and rules).
La politique du malaise à l'âge du plastique
MAJORANO, Matteo
2004
Abstract
In the era of plastic, a shapeless, opaque and transparent matter, with its changing features, typical of hybridism in narrative forms, the conformism of manifold and repetitive sufferance, organized as an obsessive parable of humanity, stands out as one of the major trends of the production of the Extrême contemporain. The analysis of three works in particular - Je l’aimais by Anna Gavalda (Le Dilettante, 2002), L’Ongle rose by Sylvie Garcia (Lagrasse, 2002) and Caspar Friedrich Strasse by Cécile Wajsbrot (Zulma, 2002) - reveals the characteristics of political correctness, identifying a set of clichés ranging from the aspects of outward (the passive permeability of narration to History) and inner literary conformity (writing intended as a confession and purification) to forms of cultural authentication (the dominance of what is told on what is narrated; of the visual on the imaginary) without neglecting the conformism of anti-conformism (empty clichés and rules).I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
