De la suspension au suspense (notice n° 723852)
[ vue normale ]
| 000 -LEADER | |
|---|---|
| fixed length control field | 02594cam a2200169 4500500 |
| 005 - DATE AND TIME OF LATEST TRANSACTION | |
| control field | 20250123082557.0 |
| 041 ## - LANGUAGE CODE | |
| Language code of text/sound track or separate title | fre |
| 042 ## - AUTHENTICATION CODE | |
| Authentication code | dc |
| 100 10 - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Charles, Lise |
| Relator term | author |
| 245 00 - TITLE STATEMENT | |
| Title | De la suspension au suspense |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. | |
| Date of publication, distribution, etc. | 2018.<br/> |
| 500 ## - GENERAL NOTE | |
| General note | 56 |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | Qui veut parler de la tension narrative à l’âge classique se heurte inévitablement à une difficulté terminologique. Le terme anglais de suspense paraît mieux convenir au cinéma de Hitchcock qu’au monde de L’Astrée, et il est difficile de savoir comment utiliser celui de suspens, un mot rare sous l’Ancien Régime. L’article retrace dans ses grandes lignes le parcours du mot suspension et examine son remplacement progressif, dans le vocabulaire critique, par celui de suspense. D’une figure de rhétorique traduisant le terme de sustentatio employé par Quintilien, la suspension est devenue une figure narrative et dramatique rattachée, au XVIIe siècle, au plaisir et à la surprise. La notion de suspense, qui a pris le relais, est au contraire associée à l’angoisse et souvent opposée à la surprise. L’histoire d’un mot permet d’appréhender certaines évolutions esthétiques profondes, certains changements dans la conception de la fiction et des émotions qu’elle est supposée susciter chez le lecteur ou le spectateur. |
| 520 ## - SUMMARY, ETC. | |
| Summary, etc. | Anyone wishing to talk about narrative tension in the Classical Age inevitably comes up against a lexical difficulty. The English word suspense seems to be better suited to the films of Alfred Hitchcock than to the world of L’Astrée, and it is difficult to know how to use the word suspens, which was rarely used during the Ancien Régime. The article outlines the history of the notion of suspension and examines how it came to be replaced in the critical vocabulary by that of suspense. Initially a figure of speech translating the Latin sustentatio used by Quintilian, suspension has become a narrative and dramatic figure linked, in the seventeenth century, to pleasure and surprise. The notion of suspense, which gradually took over, is on the contrary associated with anxiety and often means the very reverse of surprise. Tracing the history of the word allows us to grasp better the underlying aesthetic evolution in the way in which fiction, and the emotions it is supposed to arouse in the reader or spectator, were understood. |
| 786 0# - DATA SOURCE ENTRY | |
| Note | Littératures classiques | 96 | 2 | 2018-10-26 | p. 73-84 | 0992-5279 |
| 856 41 - ELECTRONIC LOCATION AND ACCESS | |
| Uniform Resource Identifier | <a href="https://shs.cairn.info/revue-litteratures-classiques-2018-2-page-73?lang=fr&redirect-ssocas=7080">https://shs.cairn.info/revue-litteratures-classiques-2018-2-page-73?lang=fr&redirect-ssocas=7080</a> |
Pas d'exemplaire disponible.
Réseaux sociaux