Abstract
Provoking the reader’s emotions, challenging heir feelings and stimulating their imagination broadens the field of investigation of the novel. The poetic part of the reception is born from the pensive and reflexive states generated in an affective novelistic universe. Emotion is produced through games of all kinds and through a writing that proceeds to experimentation, that cultivates the excessive and the extravagant and creates the pleasure of the text. Hence, the emotional dimension becomes the leitmotif of the strong integration of the reader and the trigger of his/her performative participation. Faced with an intricate writing with structural, semantic, chronological and ideological complexities, Chevillard’s reader would not be a standard or common instance, but a polyvalent one; a reader endowed with diverse skills, who gets involved in the ironic contribution and in the aesthetics of the work’s disruptions.
Recommended Citation
Marzouki, abbes
(2020)
"For an emotional reception of the “hypermodern” novel: Eric’s example Chevillard,"
SOROUD: The journal of Literacy Criticism: Vol. 3:
Iss.
1, Article 4.
https://doi.org/10.66499/6771-2605.1125
Available at:
https://scholarhub.univh2c.ma/soroud/vol3/iss1/4