L'ecole du persiflage. Diderot mystificateur des lumieres
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Abstract EN:
The following paper rests on the significant neologisms that are <<persiflage>>, a word which has been attested since 1735, and <<mystification>>, which appeared in the middle of the xviiith century, as well as on their complex and steady use up to the beginning of the xixth century. It deals with diderot, a virtuoso <<persifleur>> in le neveu de rameau and the initiator, in 1760, of the literary mystification in la religieuse and histoire des portraits, an exercise then quite different from what it was to become in the next century. A literary biography from 1748 to 1769 follows the philosopher and writer in his work and in the justification of his <<part>>. His novel, plays, tales, dialogs and <<salons>> are as many moments in a process of deepening and questioning the classical representation or mimesis, at the limits of genres and manners. Thus, during these years, from les bijoux indiscrets to the first version of le paradoxe sur le comedien, diderot sets up an esthetic theory of delusion which is also a theory of truth and a quest of identity which is as ironical as serious.
Abstract FR:
Appuyee sur les importants neologismes <<persiflage>>, atteste depuis 1735, et <<mystification>>, apparu vers le milieu du xviiie siecle, ainsi que sur leur usage complexe et ininterrompu jusqu'a l'oree du xixe siecle, l'etude entreprise concerne diderot, persifleur virtuose (le neveu de rameau) et initiateur en 1760 de la mystification litteraire (la religieuse et histoire des portraits), fort differente de ce qu'elle deviendra des le siecle suivant. Une biographie litteraire s'etendant de 1748 a 1769 suit le philosophe ecrivain dans sa production et dans la justification de son <<role>>. Roman, theatre, contes, entretiens et salons sont autant de moments de cet approfondissement et de cette mise en cause de la representation classique (mimesis) aux limites des genres et des manieres. Diderot met ainsi en place au cours de ces annees, des bijoux indiscrets a la premiere version du paradoxe sur le comedien, une esthetique du leurre qui est egalement une metaphysique de la verite et une quete aussi ironique que serieuse d'identite.