{"id":7996,"date":"2020-05-18T23:10:50","date_gmt":"2020-05-18T21:10:50","guid":{"rendered":"http:\/\/wp.unil.ch\/labelettres\/?p=7996"},"modified":"2024-05-24T16:32:29","modified_gmt":"2024-05-24T14:32:29","slug":"i-meccanismi-dellintreccio","status":"publish","type":"post","link":"https:\/\/wp.unil.ch\/labelettres\/i-meccanismi-dellintreccio\/","title":{"rendered":"I meccanismi dell\u2019intreccio"},"content":{"rendered":"
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Comment \u00e9tudier l’intrigue apr\u00e8s le structuralisme?<\/strong><\/p>\n

<\/p>\n

Lorsque l\u2019\u00e9pisode de notre feuilleton favori s\u2019interrompt sur un cliffhanger<\/em>, nous faisons l\u2019exp\u00e9rience d\u2019un plaisir esth\u00e9tique paradoxal: nous sommes frustr\u00e9s mais nous r\u00e9sistons \u00e0 la tentation de consulter des r\u00e9sum\u00e9s, qui nous priveraient du plaisir d\u2019un d\u00e9nouement sans cesse repouss\u00e9.<\/p>\n

Les r\u00e9cits qui suscitent le plus de plaisir ne consacrent pas le triomphe de la concordance narrative sur la discordance de la vie, mais constituent plut\u00f4t une imitation du chaos existentiel tout en transformant le pathos<\/em> en exp\u00e9rience esth\u00e9tique. Pour aborder ce ph\u00e9nom\u00e8ne, l’ouvrage de Rapha\u00ebl Baroni (\u00c9cole de fran\u00e7ais langue \u00e9trang\u00e8re<\/a>) se penche sur la mani\u00e8re dont les auteurs construisent des dispositifs visant \u00e0 intriguer leurs lecteurs. Il examine les m\u00e9canismes textuels qui sont au fondement des effet de suspense ou de curiosit\u00e9, tout en dressant des ponts entre les approche formalistes ou stylistiques et l’analyse des fonctions discursive que l’on peut associer \u00e0 ces formes du discours narratif.<\/p>\n

Cet ouvrage est la traduction italienne de\u00a0Les Rouages de l’intrigue<\/em><\/a>, paru en 2017.<\/p>\n

Rapha\u00ebl Baroni, I Meccanismi dell\u2019intreccio. Introduzione alla narratologia funzionale<\/em><\/a>, traduit par Andrea Amoroso et Alessandro Leiduan, Roma, Effigi, coll. \u00ab\u00a0Semeia\u00a0\u00bb, 2020.<\/p>\n<\/div><\/div>\n

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TOUTES LES NOTICES DE<\/strong><\/h6>\n

Rapha\u00ebl Baroni<\/b><\/a><\/p>\n\n\n

\n\n\t\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"2025<\/a>\n\t\t\t\t\t\t\t\t

Narratologie et enseignement du fran\u00e7ais<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Les outils narratologiques pour l\u2019enseignement du fran\u00e7ais: bilan et perspectives<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Lire Houellebecq. Essais de critique polyphonique<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

\u00ab Le Long Voyage de L\u00e9na \u00bb : regards crois\u00e9s sur une bande dessin\u00e9e<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

L’h\u00e9ritage de Ric\u0153ur : du r\u00e9cit \u00e0 l’exp\u00e9rience<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

The Legacy of Ric\u0153ur’s Time and Narrative (1983-85) : From Plot to Experientiality<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Enseigner la bande dessin\u00e9e comme (de la) litt\u00e9rature<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

I meccanismi dell\u2019intreccio<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Introduction \u00e0 l’\u00e9tude des cultures num\u00e9riques. La transition num\u00e9rique des m\u00e9dias<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Les avatars du chapitre en bande dessin\u00e9e<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Les Rouages de l’intrigue. Les outils de la narratologie postclassique pour l’analyse des textes litt\u00e9raires<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Les \u00ab\u00a0voix \u00bb de Michel Houellebecq<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Narrative Sequence in Contemporary Narratology<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Repenser le r\u00e9cit avec les s\u00e9ries t\u00e9l\u00e9vis\u00e9es<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Les passions en litt\u00e9rature. De la th\u00e9orie \u00e0 l’enseignement<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

L\u2019\u0152uvre du temps. Po\u00e9tique de la discordance narrative<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Historiographie, litt\u00e9rature et philosophie : une longue et difficile conversation triangulaire<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

La Tension narrative. Suspense, curiosit\u00e9 et surprise<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\t\t\n\t\t\t\n\t\t\t
\n\t\t\t\t\t\t\t\t\t\"\"<\/a>\n\t\t\t\t\t\t\t\t

Le savoir des genres<\/a><\/h2>\n\t\t\t<\/div>\n\n\t\t\t\n<\/div>\n\n
<\/div>\n","protected":false},"excerpt":{"rendered":"

Comment \u00e9tudier l’intrigue apr\u00e8s le structuralisme?<\/p>\n","protected":false},"author":1001615,"featured_media":7997,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[3],"tags":[1222,1250,126,1213,116,119,2330,107,2356,117,430],"class_list":{"0":"post-7996","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-langues-litteratures","8":"tag-centre-detudes-theatrales-cet","9":"tag-centre-des-sciences-historiques-de-la-culture","10":"tag-curiosite","11":"tag-ecole-de-francais-langue-etrangere","12":"tag-intrigue","13":"tag-narratologie","14":"tag-newsletter-18","15":"tag-raphael-baroni","16":"tag-surprise","17":"tag-suspense","18":"tag-tension-narrative"},"_links":{"self":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/7996","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/users\/1001615"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/comments?post=7996"}],"version-history":[{"count":1,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/7996\/revisions"}],"predecessor-version":[{"id":13004,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/posts\/7996\/revisions\/13004"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media\/7997"}],"wp:attachment":[{"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/media?parent=7996"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/categories?post=7996"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/wp.unil.ch\/labelettres\/wp-json\/wp\/v2\/tags?post=7996"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}