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<dc:title xml:lang="fr">Narration et sensations : l'art de la notation impressionniste dans les récits brefs (Fermina Marquez, Enfantines, Amants, heureux amants... et Allen) de Valery Larbaud</dc:title>
<dcterms:alternative xml:lang="en">Narration and sensations : the art of impressionist notation in Valery Larbaud's short narratives (Fermina Marquez, Enfantines, Amants, heureux amants... and Allen)</dcterms:alternative>
<dc:subject xml:lang="fr">Valery Larbaud</dc:subject>
<dc:subject xml:lang="fr">Narration</dc:subject>
<dc:subject xml:lang="fr">Sensations</dc:subject>
<dc:subject xml:lang="fr">Notation</dc:subject>
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<dc:subject xml:lang="fr">Phénoménologie de la perception</dc:subject>
<dc:subject xml:lang="fr">Poétique de la perception</dc:subject>
<dc:subject xml:lang="en">Valery Larbaud</dc:subject>
<dc:subject xml:lang="en">Narration</dc:subject>
<dc:subject xml:lang="en">Sensations</dc:subject>
<dc:subject xml:lang="en">Notation</dc:subject>
<dc:subject xml:lang="en">Impressionnism</dc:subject>
<dc:subject xml:lang="en">Short fiction</dc:subject>
<dc:subject xml:lang="en">Short stories</dc:subject>
<dc:subject xml:lang="en">Phenomenology of perception</dc:subject>
<dc:subject xml:lang="en">Poetics of perception</dc:subject>
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<dcterms:abstract xml:lang="fr">Cette thèse analyse la manière dont Valery Larbaud élabore, dans ses récits brefs, une poétique de la perception fondée sur l'art de la notation impressionniste. Loin d'une représentation réaliste du monde, sa prose cherche à en capter les instants et les variations les plus sensibles par une écriture fragmentaire qui relève d'une véritable phénoménologie du regard, où chaque phrase devient le lieu d'une expérience perceptive. L'étude s'organise autour de quatre mouvements : l'émergence du sensible, d'abord, où la sensation fonde le rapport au monde et inscrit le corps au cœur de l'expérience esthétique ; la mémoire ensuite, qui transforme la perception en trace et fait du souvenir une matière créatrice ; la voix, qui ouvre la narration à une conscience plurielle et résonnante ; enfin, la relation entre écriture, peinture et musique, qui révèle l'esthétique des correspondances à l'œuvre dans la prose larbaldienne. Ainsi se dégage une véritable éthique du sensible : chez Larbaud, écrire consiste à accueillir le monde sans le figer. L'art de la notation impressionniste apparaît comme la forme moderne d'une prose sensorielle et poétique, accordée au rythme du réel.</dcterms:abstract>
<dcterms:abstract xml:lang="en">This thesis analyses how Valery Larbaud develops, in his short stories, a poetics of perception based on the art of impressionistic notation. Far from a realistic representation of the world, his prose seeks to capture its most sensitive moments and variations through fragmentary writing that amounts to a true phenomenology of the gaze, where each sentence becomes the site of a perceptive experience.The study is organised around four movements: first, the emergence of the sensitive, where sensation forms the basis of our relationship with the world and places the body at the heart of the aesthetic experience; then memory, which transforms perception into traces and makes memory a creative material; the voice, which opens up the narrative to a plural and resonant consciousness; and finally, the relationship between writing, painting and music, which reveals the aesthetics of correspondences at work in Larbaud's prose.Thus emerges a true ethic of the senses: for Larbaud, writing consists of embracing the world without freezing it. The art of impressionistic notation appears as the modern form of a sensory and poetic prose, attuned to the rhythm of reality.</dcterms:abstract>
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