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23 avril 2020
Ce document est lié à :
info:eu-repo/semantics/reference/issn/0039-2944
Ce document est lié à :
info:eu-repo/semantics/reference/issn/2421-5856
https://creativecommons.org/licenses/by-nc-nd/4.0/ , info:eu-repo/semantics/openAccess
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Correspondence, reminiscences, etc Letters Legends and stories Novels Stories Correspondence, reminiscences, etc Letters Novels Fiction--Plots Dramatic plots Drama--Plot Scenarios Mechanical perspective Linear perspective Architectural perspective Oil painting Paintings Painting, Primitive Varnish paints Paints Enamel paints Correspondence Frenchmen (French people) Novels Novellas (Short novels) Fiction--Philosophy Metafiction Stories Western art (Western countries) Fine arts Iconography Arts, Fine Art, Occidental Arts, Visual Visual arts Occidental art Art, Visual Art, Western (Western countries) ArtsCiter ce document
Richard M. Berrong, « Painting with Words as Painters Paint: Pierre Loti’s Concern with Perspective », Studi Francesi, ID : 10.4000/studifrancesi.8804
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Résumé
Even before he took to creating art with words, French novelist Pierre Loti (1850-1923) was an avid drawer. So much so that, when he did write, he sometimes felt the need to supplement his verbal efforts with visual ones. In one of his autobiographically-based novels, Le Roman d’un enfant (1890), he recounts how, at the age of eight, he and his friend Lucette left absurd and incoherent letters in the street so that they could enjoy the reactions of those who stopped to read them. The narrator...