crime, plagiarism, Maupassant, Dostoyevsky, homicide, jealousy, Tolstoy, calls from the Other; crime, plagiat, Maupassant, Dostoïevski, idée homicide, jalousie, Tolstoï, appels de l'Autre
Abstract :
[fr] Cet article aborde les inspirations françaises et russes de L'Innocente (1892) de d'Annunzio et suggère l'intérêt d'analyses plus spécifiques du crime dans l’œuvre de ce dernier. Il rappelle les accusations de plagiat par rapport à Maupassant et la position du Vate à cet égard. Il situe ensuite les inspirations puisées chez Dostoïevski et chez Tolstoï, dans une période brève mais intense de l’œuvre. D'une finesse remarquable dans sa peinture de la jalousie homicide, d'Annunzio partage avec le premier un intérêt pour le caractère explosif de l'âme humaine et un sens du rapport entre crime accompli et fantasmé ; la référence au deuxième est liée à une exaltation sainte de la terre et aux appels non entendus d'altérité. [en] This article discusses the French and Russian inspirations of L'Innocente (1892) by d'Annunzio and suggests the interest of more specific analyzes of crime in the latter's work. He recalls the accusations of plagiarism in relation to Maupassant and the position of Vate in this regard. He then situates the inspirations drawn from Dostoyevsky and Tolstoy in a brief but intense period of the work. Remarkably fine in his painting of homicidal jealousy, d'Annunzio shares with the former an interest in the explosive nature of the human soul and a sense of the relationship between accomplished crime and fantasized; the reference to the second is related to a holy exaltation of the earth and unheard appeals of otherness.
Research Center/Unit :
Département de linguistique romane de la Faculté de philologie de l'Université d'Etat de Biélorussie, Minsk
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