Camus’s Algerian in Paris: A Prose Poetic Reading of L’Étranger
This paper demonstrates that L'Étranger, Camus's famous novel about an outsider, had by as early as 1946 become just as much of an 'insider' in terms of its affiliation to the Parisian literary tradition. More than an insider simply by virtue of its contemporary place in the Fren...
| Auteur principal: | |
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| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
Springer Netherlands
2011
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| Dans: |
Sophia
Année: 2011, Volume: 50, Numéro: 4, Pages: 527-541 |
| Sujets non-standardisés: | B
Chiasme
B Modernity B Oxymoron B Paris B Baudelaire B L'Etranger B Prose poetry |
| Accès en ligne: |
Volltext (lizenzpflichtig) |
| Résumé: | This paper demonstrates that L'Étranger, Camus's famous novel about an outsider, had by as early as 1946 become just as much of an 'insider' in terms of its affiliation to the Parisian literary tradition. More than an insider simply by virtue of its contemporary place in the French canon, then, the novel is also intertextually bound to a tradition of oxymoronic poetics dating back to Charles Baudelaire's Paris Spleen (Les Petits poèmes en prose). I shall examine the way in which L'Étranger performs its prose poetics, thereby establishing it as exemplary of a Parisian model of modernity. Additionally, the famous scene on the beach will be considered as a liminal space and as a literary translation of Paris into the desert, which, once a joke for Paris's relationship to provincial France, became after the Second World War a new allegory for the capital's self-alterity. |
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| ISSN: | 1873-930X |
| Contient: | Enthalten in: Sophia
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| Persistent identifiers: | DOI: 10.1007/s11841-011-0272-2 |