Contents of Répertoire II published in Paris in 1964. Image Photo credit: SeanPavonePhoto via Getty Images 'Le jardin est mi-chemin entre un jardin véritable ou l’on pourrait se promener, et une peinture' 'Le Jardin sec du Ryōan-ji' HTML Le Roman et la poésie, 7-26: The novel and poetry; prosody; the sacred; Dostoievsky; Breton; Valéry; Hugo; Eluard; Lamartine; Balzac; Baudelaire; Mallarmé; Stendhal; Apollinaire.La Musique, art réaliste: les paroles et la musique, 27-41: Representational capacity of music; Stravinsky; Balzac; Rossini; music and architecture; Webern; Schubert; Mozart; Schönberg; Monteverdi; Debussy; Beethoven; Chopin; Liszt; Chabrier; Ravel; De Falla; Tchaikovsky; Handel; Verdi; Gluck; Gounod; Stockhausen.L’Espace du roman, 42-50: The novel and space, the journey; relationship between fictional space and reader’s space; objects and details; role of the observer; Balzac; the inventory; juxtaposition; ‘passages’.Philosophie de l’ameublement, 51-60: The description of décor, furniture and objects in the novel; the ‘vie historique’ of the object; characters and objects; Balzac; Faulkner; Xavier de Maistre, Voyage au centre de ma chambre; Hugo, L’Homme qui rit.L’Usage des pronoms personnels dans le roman, 61-72: Narrative perspective and voice; use of the personal pronoun; interior monologue; Proust; Defoe; Caesar, Descartes; Rousseau; Husserl; James; Kierkegaard.L’Individu et groupe dans le roman, 73-87: Individual, identity and society; social context and genre; epic; picaresque novel; nineteenth-century fiction; Proust; nobility; the parvenu; ‘la société secrète; the ‘inverti’; inseparability of ‘l’individualisme romanesque’ and ‘l’architecture du groupe social’; language, class and communication; eighteenth-century epistolary novel and polyphony.Recherches sur la technique du roman, 88-99: Inevitably selectivity and distortion of all narrative; instability of the distinction between the real and the imaginary; distinction between the ‘roman naïf’ and the ‘grandes oeuvres’; chronology; temporal counterpoint; temporal discontinuity; narrative speed; space, time as ‘parcours’/ ‘trajet’; location and historicity; relationship between author, protagonist and reader; language; mobile structure; Balzac’s Comédie humaine.Sur la page, 100-103: Typography; graphic potential of page and print; Hölderlin, Baudelaire, Mallarmé.Le Livre comme objet, 104-23: The book as object; graphic potential of page and print; linearity of discourse and three-dimensionality of book; Mallarmé; book as a commercial object; enumeration; Rabelais; margins; Molière; Coleridge; typography; Mallarmé; Theocritus; Herbert; Rabelais; Apollinaire; inscriptions; Van Eyck; text within the text; Balzac; diptychal format of the book; index and tables.Sur la déclaration dite ‘des 121’, 124-26: Political protest; Bossuet; Fénelon; Voltaire; Hugo; Zola.Le Critique et son publique, 127-34: The ‘destinataire’; Kafka’s Journal; Vincent Van Gogh’s letters to Theo Van Gogh; Madame de Sévigné; posterity; Mallarmé; commercial ‘literature’; factors which determine audience; openeness of ‘la véritable critique’.Rabelais, 135-38: Difficulty of Rabelais’s work; theme of the giant.Les Nouvelles Exemplaires, 139-45: Picaresque novels of the Spanish Golden Age; Cervantes; Exemplary Stories; Don Quixote.Sur Les Liaisons dangereuses, 146-51: Parody of the ‘roman de chevalerie; nobility’s dependence on war; parallelism between libertinage and war; Balzac and Stendhal.Chateaubriand et l’ancienne Amérique, 152-92: Chateaubriand and America; L’Essai sur les révolutions; Les Natchez; Itinéraire de Paris à Jérusalem; Atala; René; Génie du Christianisme; Voyage en Amérique; Les Martyrs; Mémoirs d’outre-tombe; Rousseau; Remarques sur les Martyrs.Les Parents pauvres, 193-98: Balzac; La Cousine Bette; Le Cousin Pons; Les Parents pauvres.Babel en creux, 199-214: Hugo’s poetry.Victor Hugo romancier, 215-42: Hugo’s fiction; Les Misérables; Stendhal; Hugo’s abandonment of biographical form; debt to ‘roman-feuilleton’; Notre-Dame de Paris; parenthesis; enigmas; structuring the ‘informe’; L’Homme qui rit; Travailleurs de la mer; enumeration; Quatre-vingt-treize.Mallarmé selon Boulez, 243-51: Mallarmé; Boulez; Un coup de dés jamais n’abolira le hasard; Pli selon pli; Réminiscence; Le vierge, le vivace et le bel aujourd’hui; Don; Tombeau; Improvisations sur Mallarmé.Les Oeuvres d’art imaginaires chez Marcel Proust, 252-92: Bergotte, Elstir and Vinteuil; ‘la Sonate de Vinteuil’; Jean Santeuil; Les Plaisirs et les jours; Wagner; Schumann; Debussy; Le Port de Carquethuit; Whistler; Manet; Monet; Degas; Hokusai; Baudelaire; Seurat; Chateaubriand; ‘le Septuor de Vinteuil’; La Revue blanche; ‘l’oeuvre inachevée’ and ‘l’oeuvre inachevable’.Réponses à Tel Quel, 293-301: Critical labels; novel; Passage de Milan; L’Emploi du temps; La Modification; Degrés; Balzac; Zola; Faulkner; novel = ‘fiction unitaire’; romanesques; poems written to accompany visual and plastic artworks; Rencontre and Zanartu; Cycle and Calder; Litanie d’eau and Masurovsky; Pousses and Hérold; genre and ‘structures. intermédiaires’; Cervantes; Balzac; Mondrian; critical work on painting; ‘l’oeuvre collective’; ‘les belles-lettres’; translation; Mobile; Baudelaire; correction and revision; surrealism and realism; book as object; nouveau roman. This article was published on 2024-08-13
HTML Le Roman et la poésie, 7-26: The novel and poetry; prosody; the sacred; Dostoievsky; Breton; Valéry; Hugo; Eluard; Lamartine; Balzac; Baudelaire; Mallarmé; Stendhal; Apollinaire.La Musique, art réaliste: les paroles et la musique, 27-41: Representational capacity of music; Stravinsky; Balzac; Rossini; music and architecture; Webern; Schubert; Mozart; Schönberg; Monteverdi; Debussy; Beethoven; Chopin; Liszt; Chabrier; Ravel; De Falla; Tchaikovsky; Handel; Verdi; Gluck; Gounod; Stockhausen.L’Espace du roman, 42-50: The novel and space, the journey; relationship between fictional space and reader’s space; objects and details; role of the observer; Balzac; the inventory; juxtaposition; ‘passages’.Philosophie de l’ameublement, 51-60: The description of décor, furniture and objects in the novel; the ‘vie historique’ of the object; characters and objects; Balzac; Faulkner; Xavier de Maistre, Voyage au centre de ma chambre; Hugo, L’Homme qui rit.L’Usage des pronoms personnels dans le roman, 61-72: Narrative perspective and voice; use of the personal pronoun; interior monologue; Proust; Defoe; Caesar, Descartes; Rousseau; Husserl; James; Kierkegaard.L’Individu et groupe dans le roman, 73-87: Individual, identity and society; social context and genre; epic; picaresque novel; nineteenth-century fiction; Proust; nobility; the parvenu; ‘la société secrète; the ‘inverti’; inseparability of ‘l’individualisme romanesque’ and ‘l’architecture du groupe social’; language, class and communication; eighteenth-century epistolary novel and polyphony.Recherches sur la technique du roman, 88-99: Inevitably selectivity and distortion of all narrative; instability of the distinction between the real and the imaginary; distinction between the ‘roman naïf’ and the ‘grandes oeuvres’; chronology; temporal counterpoint; temporal discontinuity; narrative speed; space, time as ‘parcours’/ ‘trajet’; location and historicity; relationship between author, protagonist and reader; language; mobile structure; Balzac’s Comédie humaine.Sur la page, 100-103: Typography; graphic potential of page and print; Hölderlin, Baudelaire, Mallarmé.Le Livre comme objet, 104-23: The book as object; graphic potential of page and print; linearity of discourse and three-dimensionality of book; Mallarmé; book as a commercial object; enumeration; Rabelais; margins; Molière; Coleridge; typography; Mallarmé; Theocritus; Herbert; Rabelais; Apollinaire; inscriptions; Van Eyck; text within the text; Balzac; diptychal format of the book; index and tables.Sur la déclaration dite ‘des 121’, 124-26: Political protest; Bossuet; Fénelon; Voltaire; Hugo; Zola.Le Critique et son publique, 127-34: The ‘destinataire’; Kafka’s Journal; Vincent Van Gogh’s letters to Theo Van Gogh; Madame de Sévigné; posterity; Mallarmé; commercial ‘literature’; factors which determine audience; openeness of ‘la véritable critique’.Rabelais, 135-38: Difficulty of Rabelais’s work; theme of the giant.Les Nouvelles Exemplaires, 139-45: Picaresque novels of the Spanish Golden Age; Cervantes; Exemplary Stories; Don Quixote.Sur Les Liaisons dangereuses, 146-51: Parody of the ‘roman de chevalerie; nobility’s dependence on war; parallelism between libertinage and war; Balzac and Stendhal.Chateaubriand et l’ancienne Amérique, 152-92: Chateaubriand and America; L’Essai sur les révolutions; Les Natchez; Itinéraire de Paris à Jérusalem; Atala; René; Génie du Christianisme; Voyage en Amérique; Les Martyrs; Mémoirs d’outre-tombe; Rousseau; Remarques sur les Martyrs.Les Parents pauvres, 193-98: Balzac; La Cousine Bette; Le Cousin Pons; Les Parents pauvres.Babel en creux, 199-214: Hugo’s poetry.Victor Hugo romancier, 215-42: Hugo’s fiction; Les Misérables; Stendhal; Hugo’s abandonment of biographical form; debt to ‘roman-feuilleton’; Notre-Dame de Paris; parenthesis; enigmas; structuring the ‘informe’; L’Homme qui rit; Travailleurs de la mer; enumeration; Quatre-vingt-treize.Mallarmé selon Boulez, 243-51: Mallarmé; Boulez; Un coup de dés jamais n’abolira le hasard; Pli selon pli; Réminiscence; Le vierge, le vivace et le bel aujourd’hui; Don; Tombeau; Improvisations sur Mallarmé.Les Oeuvres d’art imaginaires chez Marcel Proust, 252-92: Bergotte, Elstir and Vinteuil; ‘la Sonate de Vinteuil’; Jean Santeuil; Les Plaisirs et les jours; Wagner; Schumann; Debussy; Le Port de Carquethuit; Whistler; Manet; Monet; Degas; Hokusai; Baudelaire; Seurat; Chateaubriand; ‘le Septuor de Vinteuil’; La Revue blanche; ‘l’oeuvre inachevée’ and ‘l’oeuvre inachevable’.Réponses à Tel Quel, 293-301: Critical labels; novel; Passage de Milan; L’Emploi du temps; La Modification; Degrés; Balzac; Zola; Faulkner; novel = ‘fiction unitaire’; romanesques; poems written to accompany visual and plastic artworks; Rencontre and Zanartu; Cycle and Calder; Litanie d’eau and Masurovsky; Pousses and Hérold; genre and ‘structures. intermédiaires’; Cervantes; Balzac; Mondrian; critical work on painting; ‘l’oeuvre collective’; ‘les belles-lettres’; translation; Mobile; Baudelaire; correction and revision; surrealism and realism; book as object; nouveau roman.
