Curzio malaparte et la france : un dialogue passionne

Curzio malaparte and france : a passionate dialogue

• Auteur / Autrice : Jean-Claude Thiriet
• Direction : Jean Sarocchi
• Type : Thèse de doctorat
• Discipline(s) : Littérature comparée
• Date : Soutenance en 1992
• Etablissement(s) : Toulouse 2

Mots clés

Mots clés contrôlés

Malaparte, Curzio (1898-1957)

Critique et interprétation

Résumé

K. E. Suckert, ne en 1898, subit tres tot une impregnation de certaines valeurs vehiculees par la culture francaise. Paris, la france, lui sont bientot reveles a l'occasion de la grande guerre. Des lors un dialogue de tous les instants s'instaure entre le jeune ecrivain et la culture francaise; dialogue toujours passionne qui, parfois ressemble a un affrontement - ce sera la ''periode fasciste'' de celui qui s'appelle, depuis 1926 27, curzio malaparte-, parfois au plus fructueux des echanges, dans les annees trente et jusqu'au second apres-guerre. Parce que les influences francaises paraissent parfois trop pesantes. Malaparte tente de s'en liberer. Parallelement, pourtant, il veut reussir a paris, devenir un ecrivain de langue francaise, mais a la liberation, les critiques, le public le boudent et sont sensibles a une insincerite souvent evidente. Mais systematiquement groissie. Comment echapper a une hybridite native: en la niant et en se qualifiant de ''sacre toscan'' ou en l'assumant pour devenir le prototype de l'ecrivian europeen contemporain? une mort prematuree, en 1957, laisse en grande partie en suspens cette question fondamentale.

K. E. Suckert, born in 1898, was very early imbued with some of the values carried by the french culture. Paris, france were soon revealed to him at the outbreak of the first world war. Since then started an incessing dialogue between the young wrtier and the french culture; adialogue which was always passionate, which sometimes appeared like a confrontation - that was the ''fascist period'' ot the on who become curzio malaparte in 1926 27 - even in the midst of the most thriving exanges, in the thirties and until the second after-war. Because the french influences seemed to be too heavy sometimes, malaparte try to get rid of them. At the same time, however, he wanted to meet with success in paris, to become a french language writer. But, at the time of the ''liberation'', the critics, the public cold-shouldered him, dand felt his insincerity, often obvioux, but systematically magnified. How could he escape from his native hydridism: by denying it and calling himself ''bloody toscan'' or by assuming it to become the prototype of the contemporary european writter? his premature death, in 1957, mostly left in suspense this fundamental question.