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| 005 | 20250121122621.0 | ||
| 041 | _afre | ||
| 042 | _adc | ||
| 100 | 1 | 0 |
_aSchneider, Michel _eauthor |
| 245 | 0 | 0 | _aThe Writing Was Almost Perfect |
| 260 | _c2012. | ||
| 500 | _a30 | ||
| 520 | _aDo some famous cases of artists who were murderers have any counterparts in literary history? A "metacriminological" question: is writing therefore a perfect crime? Although there are few examples of murderous writers, does writing itself not incorporate an attempt or a temptation to murder, premeditated or otherwise? Sublimation certainly still characterizes the work of creation, but the works always bear the unerased traces of the aggression visited on objects and people by the writer's pen, likened by Baudelaire to a scalpel, which lays bare the wound inflicted by writing on the writer himself: "I am the wound and the knife". | ||
| 690 | _atraces | ||
| 690 | _aAnne Perry | ||
| 690 | _awriting | ||
| 690 | _aGesualdo | ||
| 690 | _asublimation | ||
| 690 | _acrime | ||
| 690 | _acreation | ||
| 690 | _aCaravaggio | ||
| 690 | _anovel | ||
| 786 | 0 | _nRevue française de psychanalyse | 76 | 4 | 2012-10-01 | p. 1143-1149 | 0035-2942 | |
| 856 | 4 | 1 | _uhttps://shs.cairn.info/journal-revue-francaise-de-psychanalyse-2012-4-page-1143?lang=en&redirect-ssocas=7080 |
| 999 |
_c557447 _d557447 |
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