Entre poésie, roman et essai littéraire, Tomates de Nathalie Quintane est
inclassable. L’auteure substitue aux typologies génériques traditionnelles une définition
flexible et originale des genres, ce qui permet à son écriture de se libérer des contraintes
normalement associées à ces derniers. Cette expérimentation générique et formelle est
couplée à une réflexion complexe sur les survivances du fascisme et ses manifestations dans
la vie quotidienne, réflexion qui dépasse la naïveté initiale de l’oeuvre. La forme hybridée
et fluide du texte se présente par conséquent comme la réponse (artistique) au problème
(politique) que pose Quintane : comment résister aux contraintes imposées par l’État pour
limiter les droits des classes sociales dominées, d’une part, et d’autre part, aux
contraintes formelles, linguistiques et stylistiques qui pèsent sur l’artiste ?Between poetry, novel and literary essay, Nathalie Quintane’s Tomates is
uncategorizable. The author substitutes a flexible and original definition of the genres to
traditional generic typologies, which allows her writing to be free from the constraints
normally associated with these genres. This generic and formal experimentation is coupled
with a complex reflection on the survival of fascism and its manifestations in everyday
life, a reflection that goes beyond the original naivety of the work. The fluid, hybrid
literary form of the text therefore appears as the (artistic) answer to Quintane’s
(political) problem : How to resist the constraints imposed by the State to limit the rights
of the dominated social classes on the one hand, and to the formal, linguistic, and
stylistic constraints weighing on the artist on the other hand
Valérie par Valérie opens new critical paths which are fertile, though difficult to unpack. Published under the enigmatic and collective name La Rédaction, this book – whose main (or only) author seems to be Christophe Hanna – develops what we could call a viral critique, which seeks to occupy dominant ideologies to undermine them from within rather than oppose them with a new ideology. This article aims firstly to define Hanna's viral critique, based on his own theoretical works and Guy Debord's notion of spectacle as a social and economic mechanism. It then analyzes the specific form taken by that critique in Valérie par Valérie, where the author opposes the separation of literary and non-literary forms, as well as contemporary ultracapitalism and its political-economic ramifications. Finally, the ethical implications of this type of implicit critical exercise are explored through semioethics, in order to determine the efficiency of Hanna's project.
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