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By Pierre Bourdieu

• Description : C’est au XIXe siècle que se constitue, en s’arrachant à l. a. tutelle de l’État, l’univers artistique tel que nous le connaissons. Emblématique de cette development du champ littéraire comme monde à half, soumis à ses propres lois, le projet esthétique d’un Flaubert se forme au second même où los angeles conquête de l’autonomie entre dans sa section critique. En définissant los angeles logique – sublimée dans les œuvres – à laquelle obéissent écrivains et associations littéraires, Pierre Bourdieu pose les fondements d’une technology des œuvres. Loin d’anéantir le créateur sous l’effet de ses déterminations sociales, l’analyse de l’espace des possibles dans lequel il s’inscrit permet de comprendre le travail que l’artiste doit accomplir, contre ces déterminations et grâce à elles, pour se produire comme créateur, c’est-à-dire comme sujet de sa propre création.

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From the Hardcover version.

Additional resources for Les règles de l’art : genèse et structure du champ littéraire

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Roque et sa fille.  Dambreuse.  de Larsillois, dont la femme fréquente le salon de Mme Dambreuse. ), à l’exception de son précepteur et de Frédéric12. Aux soirées de Frédéric, on retrouve toujours Deslauriers, accompagné de Sénécal, Dussardier, Pellerin, Hussonnet, Cisy, Regimbart et Martinon (ces deux derniers étant absents lors de la dernière soirée)13. Enfin, Dussardier rassemble Frédéric et la fraction petite-bourgeoise de ses amis, Deslauriers, Sénécal, et un architecte, un pharmacien, un placeur de vins et un employé d’assurances14.

Quant aux intérêts artistiques qu’il exprime de loin en loin, ils n’ont pas assez de constance et de consistance pour offrir un point d’appui à une ambition plus haute, capable de contrarier positivement les ambitions communes : lui qui, lors de sa première apparition, « pensait au plan d’un drame et à des sujets de tableaux », et, d’autres fois, « rêvait de symphonies », « voulait peindre » et composait des vers, il commence un jour « à écrire un roman intitulé Sylvio, le fils du pêcheur », où il se met en scène, avec Mme Arnoux ; puis il « loue un piano et compose des valses allemandes », se convertit ensuite à la peinture, qui le rapproche de Mme Arnoux, pour revenir enfin à l’ambition d’écrire, une Histoire de la Renaissance cette fois6.

Et on ne peut qu’approuver une tentative comme celle de Michel Chaillou lorsque, se fondant sur le primat du sentir, de l’éprouver, de l’aisthèsis, il propose une évocation littéraire de la vie littéraire, étrangement absente des histoires littéraires de la littérature8 : en s’ingéniant à réintroduire dans un espace littéraire singulièrement confiné ce qu’on peut appeler, avec Schopenhauer, les parerga et paralipomena, les entours négligés du texte, tout ce que les commentateurs ordinaires laissent de côté, et en évoquant, par la vertu magique de la nomination, ce qui fit et fut la vie des auteurs, les détails familiers, domestiques, pittoresques, voire grotesques ou « crotesques » de leur existence et de son décor le plus quotidien, il opère un renversement de la hiérarchie ordinaire des intérêts littéraires.

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