Journal Intime

Le "Carnet de notes" de 1990 à 2000 écrit par Pierre Bergounioux est une lecture passionnante et difficile aussi. En fait, les plus que mille pages pourraient effrayer le lecteur habitué aux récits contemporains essentiels et courts. Pourtant, dans l'analyse de la forme 'journal' dans sa déclinaison bergounienne, démontre une manière toute contemporaine de se raconter et de refléchir sur son existence. Entre la decision de se consacrer à l'écriture et le travail comme professeur, les tâches familiales et les lectures érudites, la lecture est passionnante et permet d'entrer dans l'intimité de l'auteur de suivre ses idées et ses habitudes. L'analyse pointue des notations concernant le travail de l'écrivain et ses penchants, ses lectures littéraires et surtout sa culture immense éclaircissent son parcours auctorial en mettant en relief des caractéristiques peu connues de son écriture.

Antoni Ostrowski "Życie najlepszej żony opisane przez czułego męża dla kochanych dzieci" oraz "Dziennik moich uczuciów, czyli elegia serca" [II - red.]  ['Your death'. Origins of intimate journal in Poland at the turn of the 19th century" ang.; (Ta Mort. Les débuts du journal intime en Pologne au tournant des XVIIIe et XIXe siècles franc.]

Recension :
Francesco Annicchiarico, « Elżbieta Z. Wichrowska, Twoja Śmierć. Początki dziennika intymnego w Polsce na przełomie XVIII i XIX wieku (Ta Mort. Les débuts du journal intime en Pologne au tournant des XVIIIe et XIXe siècles) », Slavica bruxellensia [En ligne], 9 | 2013, mis en ligne le 15 avril 2013, consulté le 16 février 2018. URL : http://journals.openedition.org/slavica/1381:

"Ces deux œuvres, précédées d’un appareil critique, constituent la seconde partie de l’ouvrage. La première partie est quant à elle tout d’abord consacrée à une mise au point critique sur le journal polonais au seuil du XIXe siècle, dans lequel l’auteure propose une éclairante typologie illustrée d’exemples. L’auteure se livre ensuite à une analyse de la biographie épistolaire et de la correspondance intime par le biais des œuvres d’Ostrowski. Par sa lecture questionnant la langue de ces textes, leur style et les conventions du journal en Pologne et par l’analyse de ses principales thématiques, Wichrowska offre un nouveau point de vue replaçant la littérature des mémoires dans une nouvelle perspective au sein de l’histoire des lettres polonaises : en examinant les relations entre la pratique de l’écriture personnelle et les autres formes littéraires. La langue d’Ostrowski, en tant que moyen d’expression des sentiments et donc langage intime entre l’auteur et son épouse, avec Dieu, sa patrie, ses enfants, mais encore plus avec sa propre personne, constitue aux yeux de l’auteure le signe d’une évolution des rapports homme/femme et l’annonce d’un nouveau type d’écriture des mémoires.

5L’ouvrage est le fruit du travail méthodique de l’auteure qui s’est consacrée à déchiffrer les lettres autographes d’Ostrowski ainsi que ses manuscrits originaux : un travail méticuleux qui a non seulement le mérite de faire connaître des textes jusque-là inédits, mais aussi d’enrichir l’analyse du journal d’un point de vue très précis. Le livre a été conçu à partir d’un travail conséquent de recherches dans les archives de Pologne et d’Ukraine, travail qui a permis de faire découvrir des documents jamais encore utilisés dans la recherche, comme par exemple la correspondance qui date de la période de la Grande Diète et du Duché de Varsovie."

The journal intime developed as a written form in France alongside the tradition of autobiography which emerged from Rousseau’s Confessions; but the journal intime as a form that is published and read has a history of its own. It changed from being read in the 1880s principally as a source of documentary evidence to being acknowledged as a literary genre in 1939 upon the publication of André Gide’s Journal 1889-1939, the first work by a living author to be included in Gallimard’s prestigious Bibliothèque de la Pléiade. I propose that, just as for autobiography, the history of the journal intime’s accession to the status of literature involves fictional and hybrid forms as well as its ‘real’ form. Three works by Gide, each combining elements of fiction and non-fiction in innovative forms, contributed to this process: Les Cahiers d’André Walter [The Notebooks of André Walter, 1891], Paludes [Swamps, 1895] and Le Journal des faux-monnayeurs [Journal of the Counterfeiters, [1926]. The works foreground different possibilities of the journal intime and bring together different ways of reading, sometimes in conflict, often creating unexpected harmonies. These examples invite discussion of the tension between documentary and literary uses of other types of first-person writing, and of the exchange between their real and fictional forms.

Quand débute la Seconde Guerre mondiale, Jean Vaugien est un tout jeune officier à la tête d’un goum, une unité composée de berbères marocains. Il mène brillamment cette unité pendant les campagnes d'Italie, de Provence et des Vosges. Il y partage la vie rude et les combats de ces farouches goumiers qui ont joué un rôle décisif dans la prise de Monte Cassino. Puis, en Alsace, il rejoint l'État-major de la première Armée française où il devient aide de camp du général de Lattre de Tassigny, chef de cette armée. Séparé pendant plus d’un an de sa femme et de sa fille restées au Maroc, il éprouve le besoin de noter sur des carnets tout ce qu’il veut partager à son retour avec elles : ses joies, ses peines, les magnifiques paysages de l’Italie, les horreurs de la guerre, les évènements qu’il vit.
Son beau-frère, Jean Albouy, est lui aussi un jeune officier dans les goums. Dans les lettres qu’il envoie de France à sa famille restée au Maroc, il restitue le quotidien de la guerre, ses joies et ses peines.
Deux témoignages vivants et émouvants sur la Seconde guerre mondiale.

All’interno del vasto mondo delle scritture diaristiche può accadere che l’andamento di una vita si arresti. Chi scrive sceglie infatti di sospendere per un attimo la registrazione del quotidiano flusso dell’esistenza e di descrivere elementi legati al proprio passato, prossimo o remoto: il proprio luogo d’origine, un luogo di passaggio, un individuo conosciuto, una popolazione incrociata. Natura e comunità vengono saggiati dallo scrivente senza alcun obbligo di esaustività ma solo per il piacere di selezionarne e fissarne alcuni dettagli. Scopo di questo panel è di accogliere contributi che forniscano, nel loro insieme, uno sguardo diacronico sulle diverse forme di scrittura privata, dagli scritti di famiglia e di bottega fino ai moderni diari e zibaldoni.

This paper aims to study the discursive strategies of bad faith as a form of female alienation as it was developed by Simone de Beauvoir in The Second Sex, through the exploration of the discursive characters of two protagonists/diarists: Chantal (When Things of the Spirit Come First) and Monique (The Woman Destroyed) who share the same mystification despite the thirty years that separate the publication of the two collections of short stories. This study also demonstrates the impact that the publication and reception of the 1949 essay had on the representation of the female subject in Beauvoir’s fictional writing which left behind its (auto) biographical dimension in favor of a more social paradigm.

Colloque international, organisé par le Centre d'Études Michel Henry et le Département de philosophie de la Faculté des lettres et des sciences humaines de l'Université Saint-Joseph de Beyrouth, "Amiel et le journal intime", 2017.
Intervention publiée aux actes de l'université Saint-Joseph.

https://www.usj.edu.lb/publications/catalogue/fiche.htm?id=O2853

Si tratta di una monografia accademica includente la procedura peer-review, che si basa su una versione parzialmente riscritta e modificata della dissertazione dottorale.  Questo libro scientifico si propone lo studio del diario personale come genere letterario nell'ambito sociale italiano a partire dal Romanticismo (Tommaseo, Leopardi, Dossi), con un accento ulteriore sul suo statuto nella contemporaneità, in cui si tende ad astrarre e interpretare i rilievi caratteristici dal punto di vista contenutistico e compositivo-strutturale. Si cerca così di rilevare le modalità secondo le quali i diari e i taccuini degli scrittori o artisti fungono da strumento di espressione creativa riflettendosi sul loro metodo di lavoro, per individuare i punti di connessione in cui si realizza la convergenza con la scrittura letteraria. Si tenta altresì di rinvenire le costanti tematiche che sono alla base della narrazione, nonché stabilire le corrispondenze intertestuali sul terreno letterario, sia all'interno di un opus scrittoriale, sia prendendo in considerazione i parallelismi con le opere diaristiche che sono pertinenti a una determinata categoria tipologica. In tal senso, all'articolazione dell'aspetto intellettuale e intimistico si aggiungono i connotati poetici del discorso pubblico, quali forme discorsive basilari del registro diaristico che sono sempre diversamente declinate nei casi concreti (sono focalizzati, tra gli altri, gli scritti di Alvaro, Vittorini, Flaiano, Bontempelli, Chiaromonte, Sciascia, A.M. Ortese). Inoltre, si presta particolare attenzione all'approccio diaristico che includa la componente saggistica e pubblicistica, vertente sull'analisi dei fenomeni culturali con un variegato raggio stilistico. Si vuole anche determinare in che contesto l'epiteto di diaristico si adegua a vari tipi di testi oppure si può applicare in senso interdisciplinare, cioè quali caratteristiche vi sono attinenti.

Indice

I. Introduzione   
I.1. Principi strutturali del libro di sé stessi   
I.2. Tra poetica, cronaca e autoanalisi   
II. "Zibaldone di pensieri" di Giacomo Leopardi come opera in fieri   
II.1. Diario intellettuale di un erudito   
II.2. Alla luce della lirica   
III. Testimonianza sull'epoca di Corrado Alvaro   
IV. "Mestiere di vivere" di Cesare Pavese tra creatività e angoscia   
V. Manoscritti dai cassetti e dagli archivi   
VI. Macroprospettiva del 'diario in pubblico': sulla scia di Vittorini   
VII. Satira nelle note di Ennio Flaiano   
VIII. Dall'appunto al repertorio delle idee   
IX. "Nero su nero" di Leonardo Sciascia: dalla realtà alla verità artistica   
X. Ai margini del genere diaristico   
X.1. Come un diario   
X.2. Annotazioni degli altri   
XI. Conclusione   
XII. Bibliografia

„Peau d’Ame“ ist zwar Fragment geblieben, aber muss als komplexes Werk ernst genommen werden, das wie für Pozzis Schreiben üblich, nicht nur in eine Richtung steuert und enge Verbindungen zu ihren Tagebüchern und den wenigen zu Lebzeiten veröffentlichten Gedichten erkennen lässt. Der darin immer wieder thematisierte Körper hat eine Seele zwischen sich und der Welt, die von einer Gesellschaft voller Individuen bevölkert ist. In ihrem Leben begegnet sie der eigenen und fremden Körperlichkeit, der sie immer skeptisch gegenüber stand. Deshalb lohnt sich der Blick in ihr Journal von 1913 bis 1934, besonders in den ereignisreichen Jahren 1920 sowie 1921, zur Erklärung ihres philosophischen Denkens, das im Lichte ihrer geschilderten Erlebnisse deutlich weniger „enigmatique“ (wie Lawrence Joseph in seinem Vorwort der Ausgabe von 1990 behauptet) erscheinen wird.

This is the first study of the diary in French writing across the twentieth century, as a genre including both fictional and non-fictional works. From the 1880s it became apparent to writers in France that their diaries (or journaux intimes) – a supposedly private form of writing – would probably come to be published, strongly affecting the way their readers viewed their other published works, and their very persona as an author. More than any other, André Gide embraced the literary potential of the diary: the first part of this book follows his experimentation with the diary in the fictional works Les Cahiers d’André Walter (1891) and Paludes (1895), in his diary of the composition of his great novel, Le Journal des faux-monnayeurs (1926), and in his monumental Journal 1889–1939 (1939). The second part follows developments in diary-writing after the Second World War, inflected by radical changes in attitudes towards the writing subject. Raymond Queneau’s works published under the p...

Il contributo presenta i contenuti del volume "Scritture dell'intimo. Confessioni, diari, autoanalisi" a cura di Marco Villoresi, Firenze, Società Editrice Fiorentina, 2018 (Studi, 33). Tale volume raccoglie otto delle tredici relazioni presentate in occasione del XIII Convegno del Dottorato Internazionale di Italianistica tenutosi presso l'Università degli Studi di Firenze tra il 6 e l'8 giugno 2018 in collaborazione con Universität Bonn e Sorbonne Université. Gli interventi vertono sulla scrittura dell'io in diverse epoche storiche e all'interno di vari generi letterari: la poesia lirica, la confessione, l'autobiografia, il diario, il racconto breve, l'epistolario, il romanzo. Gli autori presi in esame sono: Francesco Petrarca, Luigi Pulci, Vittorio Alfieri, Niccolò Tommaseo, Ippolito Nievo, Goffredo Parise, Antonio Moresco. Un saggio riguarda l'autobiografia linguistica, in particolare l'Autobiography of Intercultural Encounters (AIE), come strumento didattico e di apprendimento.

Dans une Europe en crise, à la même période, au même âge, Rilke écrit Les Carnets de Malte Laurids Brigge, Kafka son Journal et Pessoa Le Livre de l’intranquillité. C’est un « je » personnage, plus ou moins fictif, qui tient son journal, qu’il s’appelle Malte, Soares ou simplement Franz. Pour qui habite mélancoliquement le monde, l’écriture de soi est bien plus qu’un instrument de connaissance, c’est une tentative de renaissance, d’autogenèse. Naître littérature, puisque la littérature est Tout…
La fiction de soi mène ces grands découvreurs des espaces intérieurs à travers les limbes, où la mélancolie côtoie la mort et la folie.
Leurs livres rendent les mouvements mêmes de l’âme et inventent un nouveau lyrisme. Inquiéteur du genre humain, l’Orphée moderne est animé d’une conscience à la fois tragique et ironique. Ivres de leurs métamorphoses, créateurs de mythes, Rilke, Kafka et
Pessoa pressentent qu’ils seront des précurseurs. Car si le diable est l’inventeur de l’absurde, il est aussi, tel le poète, le porteur de lumière…
Cette étude, pour la première fois, fait se croiser les feux de ces trois « phares inutiles dans l’Océan désert », selon le mot de Robert Bréchon, poète et éminent spécialiste de Pessoa dont il a édité les oeuvres. Lue à la lumière des deux autres, chacune des œuvres jette des reflets inattendus, où miroitent les fondements même de l’écriture contemporaine de soi.

Whereas the relationship between real autobiography and its fictional forms has been studied at length, the equivalent relationship for diaries has barely been acknowledged, let alone explored. This thesis follows the history of diary-writing – as a field that includes real and fictional diaries and the complex relations between them – in twentieth-century French writing. I take as my starting point the moment in the 1880s when, following a series of successful posthumous diary publications, a new generation of writers became aware that their own journaux intimes would probably come to be published, with considerable consequences for the way their literary œuvre and their very persona as an author (or their textual author-figure) would appear to readers. Of this generation, André Gide exerted by far the greatest influence over the course of diary-writing, and four works in particular experiment, in extremely diverse forms, with the literary possibilities of the diary: Les Cahiers d'André Walter (1891), Paludes (1895), Le Journal des faux-monnayeurs (1926), and his Journal 1889–1939 (1939). After the Second World War, diary-writing continued to draw on forms established by Gide, but now inflected by radical changes in attitudes towards the writing subject: Raymond Queneau's works published under the pseudonym of Sally Mara (1947–62) cast light on attitudes towards the diary at the time of a theoretical exclusion of the writing subject; Roland Barthes experimented with diaries at the point of a return of the writing subject (1977–79); and Annie Ernaux's published diaries between 1993 and 2011 demonstrate the role of diary-writing within the modern field of life-writing. Rather than making a gradual progress towards literary recognition, this history of diary-writing shows that, in a great variety of ways, diaries have consistently been used for their marginal or supplementary role, which simultaneously constructs and qualifies a literary œuvre and author-figure.

This volume is the first study of the diary in French writing across the twentieth century, as a genre which includes both fictional and non-fictional works. From the 1880s it became apparent to writers in France that their diaries—a supposedly private form of writing —would probably come to be published, strongly affecting the way their readers viewed their other published works, and their very persona as an author. More than any other, André Gide embraced the literary potential of the diary: the first part of this book follows his experimentation with the diary in the fictional works Les Cahiers d'André Walter (1891) and Paludes (1895), in his diary of the composition of his great novel, Le Journal des faux-monnayeurs (1926), and in his monumental Journal 1889-1939 (1939).

The second part follows developments in diary-writing after the Second World War, inflected by radical changes in attitudes towards the writing subject. Raymond Queneau's works published under the pseudonym of Sally Mara (1947-1962) used the diary playfully at a time when the writing subject was condemned by the literary avant-garde. Roland Barthes's experiments with the diary (1977-1979) took it to the extremes of its formal possibilities, at the point of a return of the writing subject. Annie Ernaux's published diaries (1993-2011) demonstrate the role of the diary in the modern field of life-writing. Throughout the century, the diary has repeatedly been used to construct an oeuvre and author, but also to call these fundamental literary concepts into question.

The first volume of Gide’s Œuvres complètes, published in 1932, proposed to replace a popular ‘figure légendaire’ of Gide with the ‘image véritable’ of his life and work. In the long run this project can be seen as a failure, since Gide’s reputation suffered after the War from his association with a certain stereotyped image of the author-figure, denounced with equal vigour by anti-authorial theory and anti-subjective literary formalism. Worse still, he seemed to be complicit in the creation of this image, owing to the strong authorial presence running throughout his literary œuvre. Yet this was a misrepresentation of the complex role of the author-figure in Gide’s writing. This paper follows the development of Gide’s successive attempts to coordinate an ‘image véritable’ uniting the various currents of his life and work, and influencing its reception by readers. The process begins with the collections of Morceaux choisis and Pages choisies in 1921, but the Œuvres complètes (1932–1939) and the Journal 1889–1939 (1939) constitute two radically different approaches to painting the ‘image véritable’. Finally, Gide’s attitude towards the scholarly use of his unpublished writings, the ‘petits papiers’, suggests one final model for the author-figure.

Les diverses formes de l’écriture de soi ont émergé, vers la fin du xviiie siècle, en même temps qu’une transition épistémologique fondamentale qui marque, selon Michel Foucault, le début de notre époque moderne. L’étude porte sur les modèles épistémologiques manifestés respectivement par l’emploi d’un discours scientifique dans l’autobiographie et le journal intime, l’un visant une connaissance totale de la personne, l’autre adoptant une attitude sceptique envers une réalité fragmentée.

L'écrivain belge Henry Bauchau utilisait le cahier pour ses manuscrits comme pour ses journaux personnels. À partir du moment où il décide de publier ses journaux, il commence à décorer les couvertures de ses cahiers avec des photographies, des reproductions d'oeuvres d'art, etc., afin de créer une matière d'archive unique. Cette pratique éclaire le processus créateur aussi bien que la façon dont Bauchau s'est construit une posture d'écrivain, en veillant à orienter ses lecteurs aussi bien que ses exégètes.
The Belgian writer Henry Bauchau used notebooks to write fictions, poems and his diary alike. Since he started to publish his diary, he began to adorn the notebooks with various pictures (paintings, photos…), in order to create unique archive material. By doing so, he built himself his writer's posture, orienting his readers as well as his critics, as well as he made possible to make sense out of his creating process.

André Gide’s Paludes (1895) has been rediscovered and reinvented by successive generations of readers, and in the process an aspect of the text has been obscured which has relevance both to the original context of its publication and for modern readers: its problematic status as diary-writing. The abundant and unconventional paratext makes conflicting claims about the nature of the work, invoking both novelistic and diaristic codes. These indeterminacies continue into the central text, in the main narrative’s ambiguous status as a journal intime, and in its oppositions with other narrative instances (especially the narrator’s own literary project, also entitled ‘Paludes’). The diary-writing in the text plays a central role in the philosophical problems confronted by the narrator. Paludes occupies a critical point of experimentation in the trajectory of published diary-writing in Gide’s career (and, as such, in the history of the publication of diaries in France), exploring the possible relationship of the diary with the literary œuvre, and its capacity for addressing philosophical and aesthetic questions. The pertinence of this experimentation to the modern field of life writing makes this a suitable moment for another rediscovery of this text.

Peu d’écrivains peuvent prétendre avoir fait le tour entier d’un siècle. Tranchant avec l’impression d’accomplissement symbolique que représente le centenaire, l’œuvre et la vie de Henry Bauchau ne commencent pourtant pas en 1913 pour s’achever en 2012, mais résonnent par-delà le temps des horloges ou des calendriers, dans un nécessaire inaccomplissement. La force de l’œuvre de l’écrivain s’éprouve en effet moins à travers sa cohérence intérieure que dans l’ouverture – sur l’extérieur et sur l’avenir – que cette cohérence autorise.

L'articolo si prefigge di esporre ed interpretare le premesse contenutistiche ed i procedimenti formali caratterizzanti di alcuni diari e taccuini nella letteratura italiana moderna che vertono prevalentemente sull’aspetto di rappresentazione pittorica, poiché ideati da artisti visivi (Annigoni, Francese, Birolli), talora con interessi letterari o nel ruolo di critici d’arte (Boccioni, Dorfles). L’intenzione è anche quella di mettere in rilievo le costanti discorsive ed analizzare così le modalità secondo cui si infonde in queste opere una componente di letterarietà a cui contribuisce la caratterizzazione diaristica del testo. Sull’esempio di notazioni diaristiche degli scrittori concepite come un’esposizione critico-figurativa (Bigongiari, Vittorini), si dimostra inoltre il profilarsi della riflessione ecfrastica che si riverbera sull’impianto narrativo, con cui viene realizzata la convergenza di elemento iconico e letterario. Si commenta altresì la maniera in cui il diarismo possa fungere da fondamento all’idea pittorica che costituisce un pensiero coerente in senso poetico. Analogamente, si fa riferimento alle illustrazioni nei quaderni pittorici contrassegnati da una matrice letteraria, che influiscono sul significato della narrazione diaristica.

Barthes forgot about Gide twice. In 1942 Barthes devoted his first published text to André Gide and his Journal, but then scarcely mentioned him over several decades of his career. In 1975 Barthes once again acknowledged the importance of Gide as ‘[s]a langue originelle, [s]on Ursuppe, [s]a soupe littéraire’ in his autobiographical work Roland Barthes par Roland Barthes, but again Gide was eclipsed by other influences (Dante, Michelet, Proust) in Barthes’s subsequent exploration of subjectivity in writing. This paper examines the nature of Barthes’s influence from Gide, its problematic relation to Barthes’s critical theory and his role as a writer, and the reasons why this influence was forgotten, repressed, or passed over in silence.