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(New page: <br>__NOEDITSECTION__ == Valérie Cossy == <br><br> '''Une égalité particulière: Rousseau et les '''<br> '''incohérences de la domination masculine selon Isabelle de Charrière'''<br...)
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<br>__NOEDITSECTION__ <br>__NOEDITSECTION__
-== Valérie Cossy ==+== Raymond Trousson ==
<br><br> <br><br>
-'''Une égalité particulière: Rousseau et les '''<br>+'''Deux Neuchâtelois au concours de l’Académie française en 1790:'''<br> '''Isabelle de Charrière et François-Louis d’Escherny'''<br><br>
-'''incohérences de la domination masculine selon Isabelle de Charrière'''<br><br>+
'''Abstract'''<br><br> '''Abstract'''<br><br>
- +Raymond Trousson’s article situates Isabelle de Charrière’s significant synthesis about Rousseau – her ''Eloge de Jean-Jacques Rousseau'' – within the context of the reception of his ''Confessions'' and within that of the competition launched by the “Académie française” in the early days of the Revolution. Trousson focuses more specifically on hers and another competitor’s contribution, that by François-Louis d’Escherny. Even though Charrière chose, eventually, to publish her text apart from the “Académie”, its competition originally spurred her writing. Charrière’s approach strikes us with its moderation and reasonableness at a time when Rousseau was either eulogized or vilified by one or the other camp. As Trousson writes: “her Rousseau was exclusively hers”. The comparison with d’Escherny enables one to measure how she compares with another admirer of Rousseau at the beginning of the revolutionary era. If the tone adopted by d’Escherny in his own ''Eloge'' differs significantly from hers, Trousson traces a similar movement in their later writings, from the hope presiding over each ''Eloge'' to the political disillusionment affecting both Charrière and d’Escherny as soon as 1792.
-Raymond Trousson:<br> +
-*[[Deux Neuchâtelois]] au concours de l’Académie française en 1790 : Isabelle de Charrière et François-Louis d’Escherny (p. 27)<br><br>+
- +
-Timothée Léchot: <br> +
-* [[L’exception qui confirme les règles]] : le génie littéraire de Rousseau perçu par Isabelle de Charrière et Henri-David Chaillet (p. 41)<br><br>+
- +
-Virginie Pasche:<br> +
-*[[Théorie et enjeux moraux]] de la fiction chez Rousseau et Isabelle de Charrière (p. 55)<br><br>+
- +
-Laurence Vanoflen:<br> +
-*[[Rousseau, Charrière… et Fiévée]] : l’économie des alliances. Regards croisés sur l’inégalité sociale (p. 71) <br><br>+
- +
-Paul Pelckmans:<br> +
-*[[Du Vicaire Savoyard à l’Abbé de la Tour]]. A propos d’''Honorine d’Userche'' (p. 84)<br><br>+
- +
-Jean-Daniel Candaux:<br> +
-*[[Thérèse Levasseur]], ou les avatars d’une image (1762-1789) (p. 99)<br><br><br>+
- +
-'''RECENTLY DISCOVERED'''<br><br>+
- +
-Kees van Strien: <br> +
-*Monsieur de Charrière travelling tutor to Belle’s brother Willem-René (p. 109)<br><br>+
- +
-Hein H. Jongbloed: <br> +
-* Four new items of “Belle-lettrie” (1797-1799)(p. 117)<br><br><br>+
- +
<br><br><br> <br><br><br>

Current revision


Raymond Trousson



Deux Neuchâtelois au concours de l’Académie française en 1790:
Isabelle de Charrière et François-Louis d’Escherny

Abstract

Raymond Trousson’s article situates Isabelle de Charrière’s significant synthesis about Rousseau – her Eloge de Jean-Jacques Rousseau – within the context of the reception of his Confessions and within that of the competition launched by the “Académie française” in the early days of the Revolution. Trousson focuses more specifically on hers and another competitor’s contribution, that by François-Louis d’Escherny. Even though Charrière chose, eventually, to publish her text apart from the “Académie”, its competition originally spurred her writing. Charrière’s approach strikes us with its moderation and reasonableness at a time when Rousseau was either eulogized or vilified by one or the other camp. As Trousson writes: “her Rousseau was exclusively hers”. The comparison with d’Escherny enables one to measure how she compares with another admirer of Rousseau at the beginning of the revolutionary era. If the tone adopted by d’Escherny in his own Eloge differs significantly from hers, Trousson traces a similar movement in their later writings, from the hope presiding over each Eloge to the political disillusionment affecting both Charrière and d’Escherny as soon as 1792.





SvD, December 2012



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