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"CE TRAVAIL RELEVE D'UNE CONCEPTION INSTITUTIONNELLE DE LA LITTERATURE MODERNE. EN S'ATTACHANT AUX PRIX LITTERAIRES, IL TIENT COMPTE DES CONTRAINTES DIVERSES LIEES A L'INSCRIPTION DE L'ECRIVAIN DANS LE CHAMP LITTERAIRE ET DES PROCESSUS DE CONSECRATION QUI DEFINISSENT LES RAPPORTS DE L'ECRIVAIN(E) ET DE L'INSTITUTION LITTERAIRE AU XXE SIECLE. GONCOURT ET FEMINA SONT CHOISIS COMME LIEU DE TENSIONS CONTRADICTOIRES. HERITIERS DE TRADITIONS LITTERAIRES ANCIENNES, CELLE DES CENACLES OU DES SALONS, ILS RECOUVRENT A L'ORIGINE DES ENJEUX DIFFERENTS DE MECENAT LITTERAIRE : L'UN OEUVRE POUR LA RECONNAISSANCE D'UN GENRE DEVALUE, LE ROMAN, L'AUTRE POUR LA RECONNAISSANCE D'UN SEXE VICTIME D'EXCLUSION. MAIS ILS SONT AUJOURD'HUI SOUMIS AUX REALITES MARCHANDES DE L'INDUSTRIE CULTURELLE QUI S'EST DEVELOPPEE DURANT CE SIECLE ET A CHANGE LA CONDITION DE L'ECRIVAIN. LA PREMIERE PARTIE DE CE TRAVAIL RETRACE DONC L'HISTOIRE DE CES DEUX INSTANCES EN RAPPELANT LES CRISES SUCCESSIVES DE LA CONSECRATION QUI EN FONT AUJOURD'HUI UN MECENAT DEVOYE. LA CEREMONIE LITTERAIRE DES PRIX APPARAIT AUSSI COMME UN + THEATRE AUCTORIAL ; SUR LA SCENE DUQUEL SE JOUENT L'IDENTITE DE L'ECRIVAIN ET SA RECONNAISSANCE. SON PROTOCOLE REPOSE SUR UN POSTULAT DE L'EXCELLENCE FORTEMENT INVESTI PAR DEUX IMAGES MYTHIQUES, ETROITEMENT ASSOCIEES DANS L'IMAGINAIRE COLLECTIF : CELLES DU + GRAND ECRIVAIN ; ET DU + CHEFD'OEUVRE ;. LA SECONDE PARTIE DE CETTE ETUDE PREND DONC LA FORME D'UNE ENQUETE MENEE AUPRES DE LAUREATS ET DE JURES. SON BUT EST DE VERIFIER DANS LES DISCOURS LES AMBIGUITES INHERENTES AUX PRIX LITTERAIRES REPEREES DANS LA PARTIE HISTORIQUE. ENTRE STRATEGIE ET PATHOLOGIES VERBALES, L'ECRIVAIN D'AUJOURD'HUI NE CESSE FINALEMENT DE DIRE SA DIFFICULTE A REDUIRE LA FRACTURE QUI OPPOSE LES DEUX VERSANTS, REEL ET REVE, D'UNE MEME IDENTITE PROBLEMATIQUE. DE PLUS, IL APPARAIT QUE LA SINGULARITE QU'IL DEFEND EN CONVOITANT LA RECONNAISSANCE LITTERAIRE NE PEUT SE CONCEVOIR SANS LA CONSCIENCE D'APPARTENIR A UNE COMMUNAUTE D'ECRIVAINS. LA FILIATION LITTERAIRE, LES FORMES DE COMPROMIS AUXQUELS, ENTRE DEFICIT NARCISSIQUE DANS LA VIE SOCIALE ET COMPENSATIONS IMAGINAIRES, L'ECRIVAIN EST CONFRONTE, LA FICTION BIOGRAPHIQUE, ONT ETE RETENUES COMME CARACTERISTIQUES DU ROMAN AUCTORIAL AU COEUR DUQUEL L'AUTEUR SE REVELE FINALEMENT UNE IMAGE A CONSTRUIRE."
"THIS WORK IS THE RESULT OF AN INSTITUTIONALLY CONCEIVED IDEA OF MODERN LITERATURE. BY FOCUSING ON LITERARY PRIZES, IT TAKES INTO ACCOUNT THE VARIOUS CONSTRAINTS LINKED TO THE COMMITMENT OF THE WRITER TO THE LITERARY FIELD AND THE PROCESSES OF RECOGNITION THAT DEFINE THE RELATIONS BETWEEN THE WRITER AND THE LITERARY INSTITUTION IN THE XXTH CENTURY. THE GONCOURT AND FEMINA PRIZES HAVE BEEN CHOSEN AS THE SCENE OF CONFLICTING TENSIONS. AS HEIRS OF SECULAR TRADITIONS OF SALONS AND COTERIES, THEY ORIGINALLY EMBODIED QUITE DIFFERENT ISSUES AS REGARDS LITERARY PATRONAGE : THE GONCOURT WAS DEVOTED TO THE RECOGNITION OF A LITERARY GENRE, THE NOVEL, WHILST FEMINA WORKED TOWARDS RECOGNITION OF THE FEMALE GENDER, VICTIM OF EXCLUSION. NEVERTHELESS, BOTH PRIZES ARE TODAY SUBJECT TO ECONOMIC REALITY OF THE CULTURAL INDUSTRY WHICH DEVELOPPED ALONG THE CENTURY AND CHANGED THE WRITER'S CONDITION. THE FIRST PART OF THE WORK RELATES THUS THE HISTORY OF BOTH ENTITIES, EVOKING THE SUCCESSIVE CRISES OF CONSECRATION THAT HAVE LED TODAY TO A SITUATION OF PATRONAGE GONE ASTRAY. THE LITERARY CEREMONY OF THE PRIZES EMERGES AS A + WRITER'S DRAMA ; TOO, ON WHICH STAGE IS PLAYED OUT THE WRITER'S IDENTITY AND RECOGNITION. ITS PROTOCOL RELIES ON A POSTULATE OF EXCELLENCY DEEPLY INFLUENCED BY TWO MYTHICAL IMAGES CLOSELY MINGLED IN COLLECTIVE IMAGINATION : THE + GREAT WRITER ; AND THE + MASTERPIECE ;. THE SECOND PART OF THIS STUDY IS THUS SHAPED AS AN INQUIRY COMPRISING INTERVIEWS WITH PRIZEWINNERS AND JURY MEMBERS. THE INQUIRY AIMS AT CONFIRMING THROUGH THE ANSWERS THE INHERENT AMBIGUITIES OF THE LITERARY PRIZES AS THEY HAVE BEEN UNDERLINED IN THE FIRST PART. TOM APART BETWEEN SYMPTOMS OF SPEECH AND STRATEGY, TODAY'S WRITER IS IN FACT QUOTING MOSTLY HIS OWN DIFFICULTY TO REDUCE THE GAP BETWEEN THE TWO OPPOSITE SIDES -- REAL AND FANTASY -- OF THE SAME QUESTIONABLE IDENTITY. MOREOVER, IT LOOKS AS IF THE DISTINCTION HE IS LUSTING AFTER THROUGH LITERARY RECOGNITION CANNOT BE CONCEIVED WITHOUT THE CONSCIOUSNESS TO BELONG TO A WRITERS' COMMUNITY. LITERARY FILIATION, THE DIFFERENT FORMS OF COMPROMISES THAT CONFRONT THE WRITER - TOM APART BETWEEN NARCISSIC DEFICIT IN HIS SOCIAL LIFE AND IMAGINARY COMPENSATIONS - AND THE BIOGRAPHIC NOVEL HAVE BEEN ADOPTED AS CHARACTERISTICS OF THE + WRITER'S NOVEL ; AT THE HEART OF WHICH THE AUTHOR, IN THE END IS REVEALED AS AN IMAGE TO BE CONSTRUCTED."

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"La reconnaissance litteraire. litterature et prix litteraires : les exemples du goncourt et du femina"
"La reconnaissance littéraire littérature et prix littéraires: les exemples du Goncourt et du Femina"
"La reconnaissance littéraire : littérature et prix littéraires : les exemples du Goncourt et du Fémina"
"La reconnaissance litteraire litterature et prix litteraires ; les exemples du Goncourt et du femina"

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