Cahiers ERTA <p style="text-align: justify;"><em>Cahiers ERTA</em> est une plate-forme d’échange scientifique sur la littérature francophone moderne et contemporaine. Nous visons avant tout à développer ce qui constitue l’essence de la littérature, à savoir une lecture à la fois intime et commune, un partage des connaissances et des expériences. Nous attendons un échange de différents points de vue sur la littérature qui soit fructueux et ouvre de nouvelles perspectives analytiques et interprétatives.</p> Wydawnictwo Uniwersytetu Gdańskiego fr-FR Cahiers ERTA 2300-4681 Page de rédaction Ewa M. Modrzejewska Copyright (c) 2021-03-31 2021-03-31 25 Table des matières Ewa M. Modrzejewska Copyright (c) 2021-03-31 2021-03-31 25 Préface Ewa M. Modrzejewska Copyright (c) 2021-03-31 2021-03-31 25 Les synesthésies diderotiennes : l’omniprésence de l’auditif dans la critique picturale de Diderot <p>To respond to an order from his friend Grimm who publishes the Correspondance littéraire, Diderot writes, between 1759 and 1781, nine accounts of the painting and sculpture exhibitions taking place at the Louvre. In his art critic, Diderot often uses the vocabulary of music and noise. Sometimes he evokes the hubbub of colors, sometimes he evokes their harmony. Then, he questions the definition of painting as “silent poetry”. The use of this vocabulary is not only metaphorical. Diderot’s sensualist aesthetics and philosophy encourage him to use the vocabulary of the auditory to establish correspondences between the visual and auditory sensations. So, he developes synaesthesias that announce those of Baudelaire.</p> Nadège Langbour Copyright (c) 2021-03-31 2021-03-31 25 9 31 Espace sonore, espace social. Analyse d’un extrait de "Notre-Dame de Paris" de Victor Hugo <p><em>Notre-Dame de Paris</em> is a novel marked by the people’s clamor, the bells’ music and the sounds of battle. In an effort to understand how sounds play a crucial part in the creative process of Hugo’s work, we will analyze chapters of <em>Notre-Dame de Paris</em> relating to “la grand’salle”. During the play and the election of the Pope of Fools (taking place in “la grand’salle”), people originating from all social spheres are gathered in the same space, which is favorable for verbal exchanges that underline the struggles between them – established by the particulars of their speech. In this space, different sounds (rumors, shouts, noises) destroy and reinforce social distances at the same time, creating an evershifting space of boundaries, both physical and social.</p> Alizée Goulet Copyright (c) 2021-03-31 2021-03-31 25 33 56 La configuration du bonheur et du malheur dans le cadre du paysage auditif : l’œuvre d’Albert Camus <p>This essay aims to analyze the poetics of the soundscape in Albert Camus’ work, based in the notions of happiness and unhappiness. Our purpose will be to define the characteristics of the symbolism of auditory perception, which are elaborated on the double configuration between happiness and unhappiness. The fact that the symbolic universe of Camus outlines a total sensory experience does no longer need to be demonstrated. Starting from his first lyrical writings to the <em>Notebooks</em>, his writing appeals arouses all the senses. Through a comparative study of examples relating to happiness and unhappiness and while underlining the predominant place of silence in Camus’ aesthetics, we will come off to the conclusion that Camus’s work constitutes a real kind of field recording.</p> Sofia Chatzipetrou Copyright (c) 2021-03-31 2021-03-31 25 57 79 "Tannhäuser" réhabilité (III) – Le concert d’Eugène d’Harcourt <p>In November and December 1894, a few months before the work’s reappearance on the Parisian stage, its very important selection (including especially the entire first and third acts) was presented by the count Eugène d’Harcourt, – by the way member of the elitist Jockey’s Club – during his “eclectic concerts” at the rue Rochechouart’s Salle de Concerts. The author of the article recalls juridical and artistic controversies provoked by these executions of Wagner’s opera. <em>Tannhäuser’s</em> fourth performance at Paris Opera’s stage was preceded, in the spring of 1895, by many publications, books and articles devoted to Wagner’s masterpiece. The most important, Étude sur <em>« Tannhäuser » de Richard Wagner. Analyse et guide thématique</em>, was written by Alfred Ernst and Élie Poirée who tried to show the value of <em>Tannhäuser</em>, considered already as a musical drama and an important stage of the composer’s evolution.</p> Michał Piotr Mrozowicki Copyright (c) 2021-03-31 2021-03-31 25 81 104