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Mouvements baroques et néo-baroques dans l'oeuvre romanesque de Jeanette Winterson : entrée dans l'au-delà du postmodernisme

Abstract : Baroque, neo-baroque and postmodernism are subject to many vague and sometimes contradictory definitions which need to be revisited and completed. Yet, one of them offers an interesting starting point to the present study : the baroque corresponds to the rise of harmony and the neo-baroque to its sudden disruption (Gilles Deleuze in L epli, Leibniz et le Baroque [1988]). Thus, the baroque is characterised through the illusory revelation and shiny exhibition of a harmonius surface. In other words, it is nothing but a trompe-l'oeil façade. The neo-baroque, on the other hand, acts as a breaking element anxious to themselves in Jeanette Winterson's postmodern novels ? What kind of thematic and textual excesses as well as "anamorphotic" distorsions are to be fpound? How are predominant motifs like the visible, the grotesque and the imaginary formed, deformed and reformed ? Is the deconstruction followed by any kind of reconstruction in progress ? And, if it is so, can it be seen as a new literary era ? All these questions will be dealt with and meticulously analysed in the light of six of eight novels published by the author : The Passion (1987, John Llewellyn Rhys Memorial Prize), Sexing the Cherry (1989, E.M. Forster Award), Written on the body (1993), Art and Lies (1994), Gut Symmetries (1997) et The Powerbook (2000). Oranges are not the only fruit (1985) - more an autobiography than a novel - and Boating for beginners (1985) - more a comic strip than a novel - have not been selected
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Hélène Fau. Mouvements baroques et néo-baroques dans l'oeuvre romanesque de Jeanette Winterson : entrée dans l'au-delà du postmodernisme. Littératures. Université Paul Verlaine - Metz, 2003. Français. ⟨NNT : 2003METZ011L⟩. ⟨tel-01749874⟩



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