Cliquer sur une vignette pour aller sur Google Books.
Chargement... La Beauté sur la terre (1927)par Charles Ferdinand Ramuz
Time is out of joint (10) "We" narration (25) Chargement...
Inscrivez-vous à LibraryThing pour découvrir si vous aimerez ce livre Actuellement, il n'y a pas de discussions au sujet de ce livre. aucune critique | ajouter une critique
Appartient à la série éditorialeGallimard, Folio (5211)
"Laisse-lui la liberte , disait-on dans la salle a boire. Qu'est-ce que tu veux la faire travailler ? elle n'est pas faite pour c ʹa. Laisse-lui la liberte , sans quoi tu risques de l'e teindre... C'est comme les ailes des papillons : si tu les touches, elles deviennent grises... Laisse-la Courir-." Juliette, une jeune orpheline cubaine, rejoint son oncle dans un village pre s du lac Le man. Sa beaute re enchante le monde : elle illumine la terre, l'air et l'eau. Mais est-elle, pour les hommes qui la contemplent et la de sirent, une be ne diction ? Charles-Ferdinand Ramuz nous offre une fable me taphysique, un re cit lyrique sur la beaute et le scandale qu'elle cause. Aucune description trouvée dans une bibliothèque |
Discussion en coursAucunCouvertures populaires
Google Books — Chargement... GenresClassification décimale de Melvil (CDD)848.9949403912Literature French Miscellaneous French writings 1900- French-language literature outside of France SwitzerlandClassification de la Bibliothèque du CongrèsÉvaluationMoyenne:
Est-ce vous ?Devenez un(e) auteur LibraryThing. |
One of the most intriguing aspects of the book is the narrative voice and the novel’s point of view. The book starts off in a straightforward third person objective point of view, but the narrator quickly shifts to first person plural, and from there on, moves back and forth between first and third, and sometimes shifts into second. It’s disorienting for readers, as sometimes we’re outside the scene looking in, and sometimes, through the narrator’s use of “we,” are in the scene itself, one of the townspeople, taking part in the action. Sometimes, when the narrator uses “you,” we are being addressed directly. Readers never quite know where they are, what their place is, and are therefore not allowed to sit in judgment on the townspeople from afar. Readers are implicated in the desire to possess Juliette, and, just like the townspeople, are frustrated in any attempt to know her.
Ramuz’s writing — and the new translation — is beautiful; the lake and village landscapes are gorgeously evoked. I finished the book with a strong sense of the place — its cliffs and waves and storms. The novel’s title refers to Juliette’s disruptive beauty, but it also surely gestures toward the beauty of the landscape. I wish I could visit, although I would not want to be drawn, as Juliette is, into the schemes of the townspeople. The genius of this novel is that Ramuz never lets the reader keep a safe, observing distance. To read this novel is to take part in its struggle, an unsettling, but satisfying, experience.