By Alain-René Lesage
En 1715, l'auteur à succès du Diable boiteux et de Turcaret publie les deux premiers tomes de l'Histoire de Gil Blas de Santillane (livres I à VI). D'abord tenu pour une imitation servile — Voltaire, volontiers calomniateur, affirma que le récit était entièrement repris d'un roman picaresque espagnol, le Marcos de Obregon de Vicente Espinel —, Gil Blas fut loué par les plus grands écrivains du siècle suivant, de Walter Scott à Flaubert, en passant par Sainte-Beuve et Hugo. Aujourd'hui, il s'impose comme l'un des romans les plus novateurs du XVIIIe siècle. Dans ces mémoires fictifs, qui retracent l. a. carrière d'un héros médiocre, cantonné dans l. a. domesticité, dupé par des aigrefins de tous ordres et ballotté d'un milieu à l'autre, Lesage joue en virtuose de l. a. veine picaresque, de l. a. satire moliéresque, de los angeles comédie galante et de los angeles farce cruelle... Inventant un sort inédit de roman comique, il interact une réflexion sur le matériau de los angeles fiction et sur son détournement parodique. À lire Gil Blas, on se dit que Lesage eût été à notre époque l'inventeur du western spaghetti.
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Extra resources for Histoire de Gil Blas de Santillane : Livres I à VI
The talk show has the title Thriving with AIDS, and consists of a staged interview between the host and Bordowitz, who here takes on the persona of Alter Allesman (Yiddish for ‘Old Everyman’), a PWA. Given the title of the show, and the introduction of Allesman as a “long-term survivor of AIDS,” viewers are led to expect that Allesman will charm us with his story of “surviving and thriving’ with AIDS; we are ready for a positive and uplifting narrative, filled with hope and determination. Instead, Allesman morbidly declares, “I'm sick and I don't want a cure.
At least in my ungoverned imagination I can fuck somebody without a rubber, or I can, in the privacy of my own skull, douse Helms with a bucket of gasoline and set his putrid ass on fire … These fantasies give me distance from my outrage for a few seconds” (qtd in Meyer 2002, 245). , 246). For Bordowitz, within the context of FTLD, this fantasy, which he expresses with anger, also forms part of his resistance to the need to self-censor for the greater good of the AIDS activist movement. The creation of Allesman was extremely significant for Bordowitz, who explains, “Splitting myself into two characters enabled me to act out versions of myself that I was afraid to show.
Egan agrees that this is important, “Because these genres foreground the plurality and processes of identity and of autobiography, they are also transformative; neither the person nor the text can reveal any single or final truth, but both can provide activities of interpretation, in which the reader is compelled to join” (1999, 226). ). For Bordowitz, however, both time and space are valuable in their own ways, and inform each other. While FTLD, for example, relies on the to and fro between past and present to reveal Bordowitz's staging of the multiple aspects of identity, it also creates a kind of map, or series of spatial intersections between them.