Bibliographie
Alter, Robert, Partial magic. The novel as a self-conscious genre, Berkeley, University of California Press, 1975.
Annotation and its texts, New York, Oxford University Press, 1991.
Barthes, Roland, S/Z, Paris, Éditions du Seuil, 1970.
____, Le bruissement de la langue, Paris, Éditions du Seuil, 1984.
Boyd, Brian, Nabokov’s Pale fire. The magic of artistic discovery, Princeton, Princeton University Press, 1991.
Bury, Richard (de), Philobiblon ou l’amour des livres, Monaco, Éditions du Rocher, 2001.
Camille, Michael, Image on the edge. The margins of medieval art, Cambridge, Harvard University Press, 1992.
Certeau, Michel (de), L’invention du quotidien. 1. Arts de faire, Paris, Union générale d’édition, 1980.
Danielewski, Mark Z., House of leaves, London, Doubleday, 2001.
Darnton, Robert, « Toward a history of reading », The Wilson Quarterly, XIII, 4, 1989, p. 86-102.
Derrida, Jacques, La fin du livre et le commencement de l’écriture, in Id., De la grammatologie, Paris, Éditions de Minuit, 1967, p. 15-31.
____, Tympan, in Id., Marges de la philosophie, Paris, Éditions de Minuit, 1972, p. I-XXV.
Eco, Umberto, Lector in fabula, Milano, Bompiani, 1979.
____, Interpretation and overinterpretation, Cambridge, Cambridge University Press, 1992.
____, Sei passeggiate nei boschi narrativi, Milano, Bompiani, 1994.
Genette, Gérard, Figures III, Paris, Éditions du Seuil, 1972.
____, Seuils, Paris, Éditions du Seuil, 1987.
Gibson, Walker, « Speakers, readers, and mock readers », College english, XI, 5, 1950, p. 265-269.
Holland, Norman, « Unity Identity Self », Publications of the Modern Language Association of America, XC, 5, 1975, p. 813-822.
Iser, Wolfgang, The implied reader. Patterns of communication in prose fiction from Bunyatt to Beckett, Baltimore, John Hopkins University Press, 1974.
Jackson, Heather J., Marginalia. Readers writing in books, New Haven, Conn., Yale University Press, 2001.
Lipking, Lawrence, « The marginal gloss », Critical inquiry, III, 4, 1977, p. 609-655.
Nabokov, Vladimir, Pale fire, New York, A.A. Knopf, 1992.
Ong, Walter J., « The writer’s audience is always a fiction », Publications of the Modern Language Association of America, XC, 1, 1975, p. 9-21.
Prince, Gerald, « Introduction à l’étude du narrataire », Poétique, IV, 14, 1973, p. 178-196.
Rabinowitz, Peter J., « Truth in fiction: a reexamination of audiences », Critical inquiry, IV, 1, 1977, p. 121-141.
Reader-response criticism. From formalism to post-structuralism, Baltimore, John Hopkins University Press, 1980.
Searle, John R., « The logical status of fictional discourse », New Literary History, VI, 2, 1975, p. 319-332.
Sherman, William H., Used books. Marking readers in Renaissance England, Philadelphia, University of Pennsylvania Press, 2008.
Stark, Richard, « Borges’ “Tlön, Uqbar, Orbis Tertius” and Nabokov’s “Pale fire”: Literature of exhaustion », Text studies in literature and language, XIV, 1, 1972, p. 139-145.
The margins of the text, Ann Arbor, University of Michigan Press, 1997.
The reader in the text. Essays on audience and interpretation, Princeton, Princeton University Press, 1980.
Tribble, Evelyn, Margins and marginality. The printed page in early modern England, Charlottesville, University Press of Virginia, 1993.
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Notes
Vladimir Nabokov, Pale fire, New York, A.A. Knopf, 1992, p. 21.
Cf. Heather J. Jackson, Marginalia. Readers writing in books, New Haven, Conn., Yale University Press, 2001, et William H. Sherman, Used books. Marking readers in Renaissance England, Philadelphia, University of Pennsylvania Press, 2008.
Roland Barthes, S/Z, Paris, Éditions du Seuil, 1970, p. 17.
Stanley Fish, Interpreting the variorum, in Reader-response criticism. From formalism to post-structuralism, Baltimore, John Hopkins University Press, 1980, p. 167.
Wolfgang Iser, Interaction between text and the reader, in The reader in the text. Essays on audience and interpretation, Princeton, Princeton University Press, 1980, p. 112.
De manière similaire, Michel de Certeau a dénoncé le paradigme production-consommation, qui destine la lecture à une passivité. Le lecteur, au contraire, « invente dans les textes autre chose que ce qui était leur “intention”. Il les détache de leur origine (perdue ou accessoire). Il en combine les fragments et il crée de l’in-su dans l’espace qu’organise leur capacité à permettre une pluralité indéfinie de signification. » (Michel de Certeau, L’invention du quotidien. 1. Arts de faire, Paris, Union générale d’édition, 1980, p. 285-286.)
Wolfgang Iser, The implied reader. Patterns of communication in prose fiction from Bunyatt to Beckett, Baltimore, John Hopkins University Press, 1974, p. 274.
Cf. Umberto Eco, Lector in fabula, Milano, Bompiani, 1979 ; Id., Interpretation and overinterpretation, Cambridge, Cambridge University Press, 1992 ; Id., Sei passeggiate nei boschi narrativi, Milano, Bompiani, 1994.
Cf. surtout Walter J. Ong, « The writer’s audience is always a fiction », Publications of the Modern Language Association of America, XC, 1, 1975, p. 9-21 ; Peter J. Rabinowitz, « Truth in fiction : a reexamination of audiences », Critical inquiry, IV, 1, 1977, p. 121-141 ; Gerald Prince, « Introduction à l’étude du narrataire », Poétique, IV, 14, 1973, p. 178-196.
Roland Barthes, Sur la lecture, in Id., Le bruissement de la langue, Paris, Éditions du Seuil, 1984, p. 43.
Ibid., p. 47.
L’expression est de Michel de Certeau, L’invention du quotidien. 1. Arts de faire, op. cit., p. 287.
Parmi les œuvres les plus citées : Jacques Derrida, Marges de la philosophie, Paris, Éditions de Minuit, 1972 ; Id., Glas, Paris, Éditions Galilée, 1974 ; Id., Parages, Paris, Éditions Galilée, 1985.
Lawrence Lipking, « The marginal gloss », Critical inquiry, III, 4, 1977, p. 609-655.
Ibid., p. 647.
Ibid., p. 638-639.
Ibid., p. 640.
Jacques Derrida, « Ceci n’est pas une note infrapaginale orale », La Licorne, XIX, 67, 2004, p. 8-9, traduction de Jacques Derrida, This is not an oral footnote, in Annotation and its texts, New York, Oxford University Press, 1991, p. 193-194.
Evelyn Tribble, Margins and marginality. The printed page in early modern England, Charlottesville, University Press of Virginia, 1993, p. 6.
Ibid., p. 29.
Ibid., p. 96.
Michael Camille, Glossing the flesh : scopophilia and the margins of the medieval book, in The margins of the text, Ann Arbor, University of Michigan Press, 1997, p. 259.
Ibid., p. 257.
Heather J. Jackson, Marginalia. Readers writing in books, op. cit.
Ibid., p. 11-13 et 75-76.
Ibid., p. 11-12.
Ibid., p. 31-32 et 123-137, à propos d’une édition de Life of Samuel Johnson (1791) de James Boswell annotée sur les marges, d’une façon très agressive, par Fulke Greville.
Ibid., p. 64-65 et 72.
Cf. Lawrence Lipking, The marginal gloss, op. cit., p. 613-621.
Heather J. Jackson, Marginalia. Readers writing in books, op. cit., p. 149-164.
Ibid., p. 147.
Richard de Bury, Philobiblon ou l’amour des livres, traduit du latin par Étienne Wolff, Monaco, Éditions du Rocher, 2001, p. 117.
Selon Brian Boyd, « Kinbote suffers from classical paranoia in all its main three forms » : « delusions of grandeur », « erotic paranoia », « persecution mania » (Brian Boyd, Nabokov's Pale fire. The magic of artistic discovery, Princeton, Princeton University Press, 1991, p. 60).
Vladimir Nabokov, Pale fire, op. cit., p. 74 et 78.
Mark Z. Danielewski, House of leaves, London, Doubleday, 2001.
Ibid., p. 379.
Ibid., p. 16 : « Now I’m sure you’re wondering something. Is it just coincidence that this cold water predicament of mine also appears in this chapter?
Not at all. Zampanò only wrote “heater”. The word “water” back there – I added that.
Now there’s an admission, eh?
Hey, not fair, you cry.
Hey, hey, fuck you, I say. »
Vladimir Nabokov, Pale fire, op. cit., p. 58 (« Ah, I must not forget to say something / that my friend told me of a certain king ») et p. 175 : « I wish to say something about an earlier note (to line 12). Conscience and scholarship have debated the question, and I now think that the two lines given in that note are distorted and tainted by wistful thinking. It is the only time in the course of the writing of these difficult comments, that I have tarried, in my distress and appointment, on the brink of falsification. I must ask the reader to ignore those two lines (which, I am afraid, do not even scan properly). I could strike them out before publication but that would mean reworking the entire note, or at least a considerable part of it, and I have no time for such stupidities. »
Ibid., p. 239.
Lawrence Lipking, The marginal gloss, op. cit., p. 609.
Vladimir Nabokov, Pale fire. A poem in four cantos by John Shade, Corte Madera, Gingko Press, 2011.
Id., Pale fire, op. cit., p. 21.
Mark Z. Danielewski, House of leaves, op. cit., p. 134 : « Mr. Truant refused to reveal whether the following bizarre textual layout is Zampanò’s or his own. – Ed. »
Cf. Brian Boyd, Nabokov’s Pale fire. The magic of artistic discovery, op. cit., p. 114-126.
Ibid., passim.
Robert Alter, Partial magic. The novel as a self-conscious genre, Berkeley, University of California Press, 1975, p. 186.
Vladimir Nabokov, Pale fire, op. cit., p. 87.
Ibid., p. 62, 156, 183 et 126.
Il est intéressant de remarquer, en passant, que le premier titre du poème de Shade a été The brink, le bord, comme le relate Brian Boyd (Nabokov's Pale fire. The magic of artistic discovery, op. cit., p. 113).
Les associations Shade-Pope et Kinbote-Shakespeare sont une suggestion de Robert Alter (Partial magic. The novel as a self-conscious genre, op. cit., p. 202-204).
Un exemple emblématique est son commentaire d’une longue citation de Sein und Zeit de Heidegger, à la fin de laquelle il s’exclame : « which only goes to prove the existence of crack back in the early twentieth century. Certainly this geezer must of gotten hung up on a pretty wicked bad rock habit to start spouting such nonsense » (Mark Z. Danielewski, House of leaves, op. cit., p. 25).
Ibid., p. 401 : Johnny rend signifiante une coquille dans le texte (parentethical au lieu de parenthetical) à travers le jeu de mots parent-ethical.
Ibid., p. 574-580.
Ibid., p. 586-644.
Roland Barthes, S/Z, op. cit., p. 22.
William Shakespeare, Timon of Athens, IV, 3, v. 446-447.
Roland Barthes, Sur la lecture, op. cit., p. 45.
Vladimir Nabokov, Pale fire, op. cit., p. 50.
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