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Copyright of Revue des Lettres Modernes is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Lendemains is the property of Narr Francke Attempto Verlag GmbH & Co.KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The lyric poem does not construct a world in the way fiction invents universes. By eluding the circumstances, and promoting an intense plasticity in its modes of enunciation, the lyric poem rather seeks a congruence between what is said and an emotional state, the communication of an impetus crystallizing in the form of the poem. This impetus can be described as a gesture, or as a set of lyrical gestures. Poems try to capture an energy that comes from the outside world as well as from the inner space. A force is conveyed through a form - since modern poetry has given up rules of versification - that is never completely fit. This lyrical energy is shared by the reader through the re-enunciation of the poem. The lyrical »I« has a certain porosity, a manner of subjective transparence that allows the reader's subjectivity to lodge there and during the time of recitation. It is thus the dynamics between force and form in modern poetry that this article tries to understand. [ABSTRACT FROM AUTHOR]

Written in the late 70s, published in 1990, the Petits traités invent a new form. They are the peculiar solution that Quignard invents to break out from oral speech and philosophy, to assert the paradoxical muteness of literature. He claims to be a «misologue», but does not repeat the reflexive gesture of the late modernity. On the contrary, he points out to the necessary blind spot of vision and of writing. Denying any possibility of self-reflexivity, he favors a tragic speculation about the origin and about the void that gives literature its energy. [ABSTRACT FROM AUTHOR]

The article presents the author's views on the theoretical perception of human beings' individual life with the help of works of various writers including Régis Jauffret, Olivia Rosenthal and Tanguy Viel. Various topics discussed include hypothesis of an individual life, balance between sovereignty and singularity of one's life, its philosophical paradoxes, modern lyricism and diachronic individualism. It further discusses a study conducted by Rosenthal in which she analyzed hypothesis of monologues of several literary characters.