A “Romanced Biography”: Irène Némirovsky’s La Vie de Tchekhov

At the beginning of the twentieth century biography became a popular genre that reached literary standing, thanks to the many authors who wrote and discussed the genre’s newfound status. Irène Némirovsky participated in this dialogue with her biography La Vie de Tchekhov, posthumously published in 1...

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Main Author: Marta Laura Cenedese
Format: Article
Language:fra
Published: Pléiade (EA 7338) 2018-02-01
Series:Itinéraires
Subjects:
Online Access:http://journals.openedition.org/itineraires/3712
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author Marta Laura Cenedese
author_facet Marta Laura Cenedese
author_sort Marta Laura Cenedese
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description At the beginning of the twentieth century biography became a popular genre that reached literary standing, thanks to the many authors who wrote and discussed the genre’s newfound status. Irène Némirovsky participated in this dialogue with her biography La Vie de Tchekhov, posthumously published in 1946. Supported by extensive archival research, this article analyses Némirovsky’s romanced biography within the history of the genre and its codification in 1920s France. At first, the article will explore Némirovsky’s research preparation and, in a comparison with other works, will appraise her ability to infuse life to scholarly facts. Subsequently, it will consider the importance of Némirovsky’s creative choices; while her identification with her subject allows the emergence of a higher degree of empathy, her place as an assimilated Russian émigré and French author gives her the necessary detachment for the narrative of the past to become a space for the apprehension of the present.
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spelling doaj.art-cae7d833db194b649a2280ba563a377f2022-12-22T01:57:29ZfraPléiade (EA 7338)Itinéraires2427-920X2018-02-012017110.4000/itineraires.3712A “Romanced Biography”: Irène Némirovsky’s La Vie de TchekhovMarta Laura CenedeseAt the beginning of the twentieth century biography became a popular genre that reached literary standing, thanks to the many authors who wrote and discussed the genre’s newfound status. Irène Némirovsky participated in this dialogue with her biography La Vie de Tchekhov, posthumously published in 1946. Supported by extensive archival research, this article analyses Némirovsky’s romanced biography within the history of the genre and its codification in 1920s France. At first, the article will explore Némirovsky’s research preparation and, in a comparison with other works, will appraise her ability to infuse life to scholarly facts. Subsequently, it will consider the importance of Némirovsky’s creative choices; while her identification with her subject allows the emergence of a higher degree of empathy, her place as an assimilated Russian émigré and French author gives her the necessary detachment for the narrative of the past to become a space for the apprehension of the present.http://journals.openedition.org/itineraires/3712Irène NémirovskyAnton Chekhovromanced biographyengagementcreative experienceautobiography
spellingShingle Marta Laura Cenedese
A “Romanced Biography”: Irène Némirovsky’s La Vie de Tchekhov
Itinéraires
Irène Némirovsky
Anton Chekhov
romanced biography
engagement
creative experience
autobiography
title A “Romanced Biography”: Irène Némirovsky’s La Vie de Tchekhov
title_full A “Romanced Biography”: Irène Némirovsky’s La Vie de Tchekhov
title_fullStr A “Romanced Biography”: Irène Némirovsky’s La Vie de Tchekhov
title_full_unstemmed A “Romanced Biography”: Irène Némirovsky’s La Vie de Tchekhov
title_short A “Romanced Biography”: Irène Némirovsky’s La Vie de Tchekhov
title_sort romanced biography irene nemirovsky s la vie de tchekhov
topic Irène Némirovsky
Anton Chekhov
romanced biography
engagement
creative experience
autobiography
url http://journals.openedition.org/itineraires/3712
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