000 02300cam a2200301 4500500
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041 _afre
042 _adc
100 1 0 _aFeith, Michel
_eauthor
245 0 0 _aEllison avec Barthes : occultation et désoccultation du « canon ethnique » dans Erasure de Percival Everett
260 _c2007.
500 _a11
520 _aErasure is a work so replete with various forms of parody and pastiche that these strategies of rewriting constitute its thematic and formal core. The protagonist, Thelonious “Monk” Ellison, is himself an African American parodist, but one of his endeavors backfires, forcing him to play the neo-minstrel part of a stereotypical “black writer.” The novel develops a poetics of allusion that implies a complex relationship with several “canons,” among which the poststructuralist doxa, represented by a parody of Barthes’s S/Z; ghetto novels predicated on the “black experience”; and, last but not least, Ralph Ellison’s Invisible Man. The various treatments range from downright burlesque and ridicule, to critical parody and pastiche-as-tribute. The relation of text to hypotext can take on an interventionist quality, indirectly performing the canonical operation of literary evaluation. The novel seems to be rather a negative ars poetica, a deconstruction of ethnic and national canons, than a refoundational enterprise: no “blueprints for Negro writing” are proposed. Yet, Ralph Ellison’s refusal to be limited to a “racial” province, and his advocacy of the literariness of the novel over its sociological significance, seem most congenial to Everett, and make him the real “ancestor” of the younger writer’s creative and comic wisdom.
690 _a« race »
690 _acanon
690 _alittérature afro-américaine
690 _amédia
690 _aparodie
690 _apostmodernisme
690 _a“race”
690 _aAfrican American literature
690 _acanon
690 _amedia
690 _aparody
690 _apostmodernism
786 0 _nRevue française d’études américaines | 110 | 4 | 2007-07-30 | p. 61-77 | 0397-7870
856 4 1 _uhttps://shs.cairn.info/revue-francaise-d-etudes-americaines-2006-4-page-61?lang=fr&redirect-ssocas=7080
999 _c1650026
_d1650026