Ilya Ehrenbourg a été un exemple parfait de composition artistique avec un régime politique, devenant ainsi l’écrivain soviétique par excellence. Partagé entre deux mondes, entre deux cultures et deux religions, il se choisit une foi, celle dans le socialisme, et un ennemi, le bourgeois, pour contrecarrer cette ambivalence identitaire. Dans sa première phase, c’est la critique du monde occidental qui lui permet de repousser les doutes de sa nature sceptique. Puis, la construction stalinienne des années 1930 lui offre un nouveau type d’écriture : celle de romans de production réalistes socialistes mettant en scène l’utopie d’un nouveau monde en devenir. Mais cette esthétique se révèle vite une impasse. La Seconde Guerre mondiale permet de revitaliser le conflit inhérent au récit avec l’apparition d’un nouvel ennemi bien déterminé : l’Allemand. Ses textes de cette époque, très diffusés et très lus, sont une violente exhortation à tuer l’ennemi, sans état d’âme. C’est encore le rôle de serviteur du régime que prend Ehrenbourg dans la dernière période de sa vie en illustrant littérairement la très relative libéralisation du Dégel.Ainsi Ehrenbourg aura-t-il choisi d’être lu et d’être utile : resté dans son pays malgré un régime qu’il n’accepte que partiellement mais dont il devient le porte-parole, il fait de l’écriture sa raison de vivre. La littérature-action est une arme pour lutter contre l’ennemi extérieur, mais aussi contre l’ennemi intérieur qui menace un moi fragile.Ilya Ehrenbourg, a perfect example of artistic collaboration with a political regime, has become the Soviet author par excellence. It was in order to counterbalance the ambiguity of his personal identity — torn as he was between two worlds, two cultures, two religions — that he chose a faith, the faith in socialism, and an enemy, the bourgeoisie. In his first period, the critique of the West allows him to exorcize his skepticism. Then, the Stalinist constructs of the 30’s bring with them a new literary model: that of the social realist novel depicting the dawn of a new utopia. While this esthetic project quickly reveals itself to be a dead-end, the Second World War allows Ehrenbourg to revitalize the conflictual nature of narrative by introducing a new, clearly defined enemy: the Germans. His works from this period, which were widely circulated and read, constitute a cold-blooded call to kill the enemy. Ehrenbourg’s support of the Soviet regime is still visible in his literary representation of the minimal liberalization afforded by the Thaw.Ehrebourg thus chose to address himself to a wide audience and to make himself useful: remaining in his homeland and becoming the spokesman for a political regime that only partially accepted him, he fully devoted himself to his writing. Engaged literature is an arm directed at once against the enemy from without and against the enemy from within oneself, allowing the author to prevent the disintegration of his fragile ego
Les auteurs de la Russie post-soviétique, Prigov, Bouïda, Chichkine, confrontés à nouveau, mais apparemment cette fois sans contraintes ni filtres politiques, à l'Occident et à l'Orient semblent découvrir un monde dont l'exotisme s'est déjà éventé ; ils se lancent alors dans une quête dont l'objet est plus l'affirmation de soi que la rencontre avec l'Autre. 1. V. Segalen, Essai sur l'exotisme, p. 92.
The period of the end of the 1980s and the beginning of the 1990s was in Russia that of collapsing taboos , of provocation , of the exploration of new ways of fictional representation . Thus it is an excessive representation of the body that Russian fiction of the end of the twentieth century offers to the reader after years of eclipse and peripheral presence : excess of raw physiological descriptions , particularly in feminine prose , bodies abused , shredded , disintegrated , bodies submitted to a constant instability and to various mutations , if not disappearance . The body is only in the case of a few authors the source of pleasure and the medium for wellrounded feelings and sexuality . The emphasis on the body betrays a crisis in society , an existential fragility , but it is also the instrument of a profound renewal of the language of literature , of a revolt against the limits of the literature of the past .
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