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Woolf, Virginia,

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Woolf, Virginia,

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S’intéresser à la pensée et à la fabrique de la phrase, comme étant la veine de l’écriture de Woolf, c’est tenter de rendre compte de ce qui ne se laissera jamais saisir comme objet, mais ne cessera de se donner à entendre dans son rapport avec l’impossible. Dans son œuvre renouvelée de multiples façons, la phrase apparaît à la fois comme plus d’une et à nulle autre pareille. À s’engager dans cette lecture, l’ouvrage se démarque des diverses approches historicisantes qui d’une manière ou d’une autre réifient l’écriture de Woolf. Il invite plutôt à se mettre à l’écoute subtile des multiples frayages de la phrase, de la mobilité de la régie des voix qui la trament, de la pulsation des timbres qui la transportent, à travers des textes de genres différents dont elle brouille toute frontière. L’ouvrage choisit par ailleurs d’éclairer un corpus peut-être moins connu de l’œuvre woolfienne. Il s’adresse aux lecteurs de Virginia Woolf pour qui la phrase définit cette passion de la lettre, de la littérature. Chantal Delourme est professeur émérite de l’Université Paris Nanterre, où elle a enseigné la littérature britannique et la théorie littéraire. Spécialiste du modernisme et de l’œuvre de Virginia Woolf, elle a publié de nombreux articles et une monographie sur To the Lighthouse, intitulée Virginia Woolf, To the Lighthouse. Les arabesques du sens (2001). Addressing the thought and the making of the phrase, as the source of Virginia Woolf’s writing, is trying to account for what will never be grasped as an object,but will never cease to be heard through its relation to the impossible. In her work, renewed in many ways, the phrase appears at the same time as more than one and like no other. By engaging in this reading, the book distances itself from the various historicizing approaches that in one way or another reify Woolf's writing. It invites us instead to pay subtle attention to the multiple modes of fabrication of the phrase, to the mobility of the voices that weave…

Literature --- Literature (General) --- phrase --- poétique --- écriture --- régie des voix --- l’impersonnel --- la scène --- l’incommensurable --- formes de vie --- poetics --- writing --- voices --- the impersonal --- the scene --- the incommensurate --- life forms

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Questioning “Modernism and Unreadability” means exploring Modernism from the perspective of one of its most problematic effects: unreadability. Modernism is approached through the lens of texts known to be particularly resistant to interpretation-“ borderline” modernist texts which fall de facto under the category of the unreadable, i.e., texts which need to be “unraveled” (Barthes) rather than deciphered. Those texts, now part of the literary canon, raise problems of deciphering/comprehension which defer and displace the question of interpretation. From Stein to Eliot, several canonical texts foil reading, articulation, and commentary. Given its intensity, we need to ask ourselves to what extent modernist unreadability defines a unique historical moment. This latter hypothesis underwrites a polemical notion of literary history as a succession of breaks made manifest by the emergence of radically new paradigms-such as unreadability- through which Modernist writings question literariness from the angle of literalness, and challenge literature-both as a practice and as a historical institution-to account for itself, to justify its procedures and its tacitly or implicitly held beliefs, to deconstruct the very meaning of writing and reading.

Literature (General) --- hermeneutics --- Modernism --- unreadability --- literary --- misreading --- wreaderly textuality