By Umberto Eco
Les Nouveaux pastiches et postiches d'Umberto Eco se présentent un peu comme l'œuvre mineure du grand homme. Le style d'ouvrage que l'on commet quand on est arrivé. Recueil de nouvelles de science-fiction, de chroniques éditoriales pour l. a. presse milanaise et de petites notes semi-autobiographiques, les Nouveaux pastiches rassemblent vingt ans de textes mineurs. On despatched le badinage chez l'important sémiologue, chez l'auteur du Nom de l. a. Rose, bref chez le monstre sacré de l'édition. Ni tout à fait scories certes, ni pensum mémorable légué à los angeles postérité. Les textes se laissent lire - d'une qualité inégale, glissant parfois vers los angeles chronique sub-kafkaïenne, parfois vers los angeles petite diatribe misanthrope. Polémiste et railleur, le propos ne manque pas d'humour, peignant en quelques touches acides les travers de los angeles modernité. C'est un peu los angeles vie mode d'emploi ... vue par une notabilité internationale.
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PART ONE The Underground 2 The Double: Dostoyevsky's idea for The Double No analysis of Dostoyevsky's fantastic realism can afford to overlook his second novel. When it was published in Notes of the Fatherland in 1846, everybody, it seems, was disappointed in The Double', almost all reviewers disliked it, accusing Dostoyevsky of imitating Hoffmann or Gogol, even to the extent of plagiarism (K. S. 2 Dostoyevsky himself was devastated and was soon persuaded that his second was an artistic failure.
S. 2 Dostoyevsky himself was devastated and was soon persuaded that his second was an artistic failure. Yet he stood by the idea of The Double virtually all his life. He repeatedly thought of rewriting it, first of all in 1846, then in 1847, again in 1859, and finally during the years 1861-5. He never did so, although the 1866 version (which is the one we read) has some welcome pruning and is a great improvement on the original. We also have some brief notes for a reworking. 4 Then in the Diary ofa Writer for 1877 he wrote, 'My story was a positive failure, but the idea was quite a bright/clear (svetlaya) one, and I never introduced a more serious one into literature.
Psychoanalytical, models. In particular Bakhtin's discussion of Dostoyevsky's characters - although he repeatedly refers to 'embodied ideas' or 'the self-developing idea inseparable from personality' - takes very little account of desires or emotions either in fictional characters or in writers and readers. Yet we are aware in reading Dostoyevsky, as we are in our relationships within lived experience, that utterances do not simply provoke verbal rejoinders or silences of a rational kind: they also provoke emotional responses, arising from their confirmation or disconfirmation of our subjective selves.
Comment voyager avec un saumon by Umberto Eco