Le paradoxe comme révélateur de désenchantement et de nostalgie: Analyse postmoderne du roman “L'insoutenable légèreté de l'être” de Milan Kundera

Abstract

En parcourant nombre de revues spécialisées traitant du postmoderne en littérature, il arrive fréquemment de voir mentionné le nom de Kundera parmi des écrivains tels Pynchon, Barth, Nabokov, Calvino, Eco, Sarraute et Robbe-Grillet, écrivains à qui certains ont attribué le titre de postmodernes. Que relie donc des écrivains si différents à la typologie esthétique postmoderne? Peut-on considérer leurs écrits comme faisant partie d'un seul et même programme et motivés par les mêmes soucis esthétiques? Certes, la littérature postmoderne du continent américain ne se laisse pas aborder de la même façon que celle de l'Europe mais encore, faire le pas entre les continents n'est pas si énorme que de faire le pas entre les Histoires qui distinguent ces deux parties du monde. Est-il possible de voir dans l'œuvre de Kundera une attitude entièrement postmoderne? (Abstract shortened by UMI.)

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When browsing a number of specialist journals dealing with postmodernism in literature, it is common to see Kundera's name mentioned among writers such as Pynchon, Barth, Nabokov, Calvino, Eco, Sarraute and Robbe-Grillet, writers to whom some have attributed the title of postmodernists. So what connects such different writers to the postmodern aesthetic typology? Can we consider their writings as part of a single program and motivated by the same aesthetic concerns? Certainly, the postmodern literature of the American continent cannot be approached in the same way as that of Europe, but still, taking the step between the continents is not as enormous as taking the step between the Histories which distinguish these two parts of the world. Is it possible to see in Kundera's work an entirely postmodern attitude? (Abstract shortened by UMI.)