Mise en scène de soi

PRÉAMBULE
REMARQUES PRÉLIMINAIRES SUR LES ÉPREUVES DU CAPES . . . . . . . . . 13
THÉMATIQUE 2 :“EXPRESSION ET CONSTRUCTION DE SOI”
(EXTRAIT DU B.O.) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
THÈME ET AXE D’ÉTUDE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
STRUCTURE ET INTÉRÊTS DU PRÉSENT OUVRAGE . . . . . . . . . . . . . . . . . . 17
ENJEUX ET PROBLÉMATIQUES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
CONSEILS MÉTHODOLOGIQUES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Appréhender les textes et aboutir à une problématique . . . . . . . . . . 20
Gérer son temps et s’appliquer à la mise en forme . . . . . . . . . . . . . 23
Les attentes du jury : écueils à éviter . . . . . . . . . . . . . . . . . . . . . . . . 25
PREREQUISITES:CONCEPTS
THE SELF AND THE WORLD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
THE SELF AND THE OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
THE SELF AND TIME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
SELF-STAGING THE INTIMATE SELF . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
THE AUTOBIOGRAPHICAL PACT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37
THE SELF AND THE MULTITUDE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
“I” IS ANOTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
THE PSYCHONALYTIC SELF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
THE PRESENTATION OF SELF IN EVERYDAY LIFE . . . . . . . . . . . . . . . . . . .45

INTRODUCTION
THE POETIC PERSONA ON THE STAGE
FIRST EXPRESSIONS OF THE LYRICAL SELF, FROM SAPPHO TO BYRON
FROM THE PETRARCHAN TO THE SHAKESPEAREAN SONNET . . . . . . . . . . 65
SIR PHILIP SIDNEY’S ASTROPHIL AND STELLA:
STAGING AN INTIMATE DIALOGUE WITH LOVE . . . . . . . . . . . . . . . . . . . . . 69
SHAKESPEARE’S SONNETS: CONSIDERING THE SPEAKER-LOVER’S
INFINITE FACES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
SHAKESPEARE’S DEBT TO MARLOWE’S DARING SELF-EXPRESSION . . . . . 76
GROUNDBREAKING WOMEN POETS STAGING THEIR SELFVES
DURING AND AFTER THE RESTORATION . . . . . . . . . . . . . . . . . . . . . . . . . . 77
THE STAGING OF THE ROMANTIC SELF
LYRIC POETRY AND THE 18TH CENTURY SELF . . . . . . . . . . . . . . . . . . . . . 87
THE LAKE SCHOOL POETS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
THE ROMANTIC PROJECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
SELF-EXPLORATION AND THE IMAGINATION:
DE QUINCEY AND COLERIDGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
THE STAGING OF THE SELF AND THE LATER ROMANTICS:
SHELLEY, KEATS, AND BYRON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
FIRST STAGINGS OF THE SELF IN PROSE
THE ESSAY AND THE PAMPHLET: CONFESSIONAL GENRES,
POLITICAL WEAPONS
WHAT’S IN AN ESSAY? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
THE ESSAY AND THE PAMPHLET: EARLY EXPRESSIONS OF THE SELF . . . . 115
TRAVEL WRITING AND READING TRAVEL . . . . . . . . . . . . . . . . . . . . . . . . 118
MEDIATION AND THE TRAVEL-WRITING SELF . . . . . . . . . . . . . . . . . . . . 120
THE TRAVELING SELF ON THE LIETERARY STAGE:
GULLIVER’S TRAVELS (1726) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
THE STAGING OF THE SELF IN LITERATURE: ROBINSON CRUSOE
AND THE BIRTH OF THE NOVEL
ROBINSON CRUSOE’S SWEEPING INFLUENCE
ON FICTION AND (AUTO)BIOGRAPHY . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
DANIEL DEFOE’S ROBINSON CRUSOE: A PURITAN ADVENTURE STORY? . 129

THE STAGING OF THE MODERN SELF IN LITERATURE
THE BIRTH OF THE “I” AND “EYE” ON THE AMERICAN LITERARY STAGE
AMERICAN LITERATURE AS A QUEST TO REDEEM HUMAN HISTORY . . . . 141
Puritan Captivity narratives: the imperialist imperative
and the staging of the intimate self . . . . . . . . . . . . . . . . . . . . . . . . . 142
From a Puritan to a secular form of self-staging:
Benjamin Franklin’s Autobiography . . . . . . . . . . . . . . . . . . . . . . . . 143
THE AMERICAN RENAISSANCE AND THE BIRTH OF THE MODERN SELF . 146
Ralph Waldo Emerson’s declaration of independence
from European traditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Henry David Thoreau’s search for the true self at Walden Pond . . 148
Walt Whitman (1819-1892): American superstar
and self-promoting guru . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
FROM THE FIN DE SIECLE TO THE MODERNS:
TOWARDS A NEW CELEBRATION OF THE SELF
OSCAR WILDE: PORTRAIT OF THE FIN-DE-SIECLE MODERN ARTIST . . . . 155
The mise en scène of Mr. Wilde . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Of portraits and masks in Wilde’s fiction . . . . . . . . . . . . . . . . . . . . 161
A last glance at Mr. Wilde via Mr. Lautrec . . . . . . . . . . . . . . . . . . 164
‘De Profundis’, Wilde’s testament and an early work in the modern
confessional canon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166
THE MODERN SELF ON THE LITERARY STAGE . . . . . . . . . . . . . . . . . . . . 168
THE “LOST GENERATION” AND THE “BEAT GENERATION”:
WRITING EX-CENTRIC LIVES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
American selves, European lives . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Ernest Hemingway’s The Sun Also Rises (1926) . . . . . . . . . . . . . . 174
Staging the Lost Generation in the film Midnight in Paris . . . . . . 177
Henry Miller and Anaïs Nin, pioneers of autobiographical fiction
and diary-writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
The Beat Generation’s staging of life “In the American Grain” . . 184
Jack Kerouac’s On the Road: defining the Beat Generation . . . . . 187
The Beats countercultural experiments in life and writing . . . . . . 192
The language(s) of the intimate self: a French companion piece
to Kerouac’s On the Road . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
Ken Kesey and the will to awaken the dormant self . . . . . . . . . . . 195
Post-war experimentations with the staging of the self: Philip Roth’s
upstaging of his critics in his auto-fictional works . . . . . . . . . . . . 197

SUBALTERN SELVES IN FRONT STAGE PERFORMANCES
AFRICAN AMERICAN SELVES CATCHING THE LIMELIGHT
NORTH AMERICAN SLAVE NARRATIVES: TALES OF DISPLACEMENT,
ENTRAPMENT AND ESCAPE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206
The Interesting Narrative of the Life of Olaudah Equiano (1789) . 207
Narrative of the Life of Frederick Douglass,
An American Slave (1845) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210
WHAT KIND OF ‘BLACK’ SELF? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
Booker T. Washington and the Tuskegee model . . . . . . . . . . . . . . 213
Marcus Garvey’s Pan-Africanism . . . . . . . . . . . . . . . . . . . . . . . . . . 214
W. E. B. Du Bois: Warning Against the Dangers of Separatism . . 215
INSCRIBING THE AFRICAN AMERICAN “I” ON THE LITERARY MAP . . . . .217
The hope for a new America: the poetry of Langston Hughes . . . 219
Ralph Ellison’s Invisible Man (1952):
Halting on the Path to Visibility . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
The Poetics of Self and World in Martin Luther King’s Speeches 228
Maya Angelou: I Know Why the Caged Bird Sings . . . . . . . . . . . . 235
A Singular Raised Voice: how Nina Simone
turned the civil rights movement into music . . . . . . . . . . . . . . . . . 243
James Baldwin: staging the negative self to upend its destruction 246
NEO-SLAVE NARRATIVES: RE-MEMBERING THE AFRICAN AMERICAN
FOUNDATION STORY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

POLITICAL SELF-STAGING AND PERFORMATIVITY
THE BLACK PANTHERS’ THEATRICAL POLITICS . . . . . . . . . . . . . . . . . . . 255
The theatre of LeRoi Jones/Amiri Baraka . . . . . . . . . . . . . . . . . . . 258
Angela Davis: an icon polarizing Black Power . . . . . . . . . . . . . . . 260
Performativity and political theatre adapted to the streets . . . . . . . 262
FROM HIP HOP TO BLACK LIVES MATTER: FURTHERING THE PANTHER’S
LEGACY, ENGENDERING A NEW POLITICS OF THE SELF . . . . . . . . . . . . . . 263
THE PERSONAL IS POLITICAL: TOWARDS A FEMALE POETICS OF SELF
SECOND WAVE FEMINISM AND THE (DE)CONSTRUCTION
OF THE ‘FEMININE’ SELF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
CONSCIOUSNESS-RAISING: FROM THE SELF TO THE GROUP . . . . . . . . . . 274
Audre Lorde and the ‘embodied’ self . . . . . . . . . . . . . . . . . . . . . . . 276
Knowledge, language and self-empowerment
in the women’s movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
January 21, 2017: the Women’s March on Washington . . . . . . . . . 284
#MeToo: the personal is political . . . . . . . . . . . . . . . . . . . . . . . . . . 288

IMAGE CULTURE AND THE PRESENTATION OF SELF
THE EVOLUTION OF IMAGE CULTURE IN THE U.S.,
FROM UNIFORMITY TO FRAGMENTATION . . . . . . . . . . . . . . . . . . . . . . . . 291
Blow-Up: deconstructing the image . . . . . . . . . . . . . . . . . . . . . . . . 293
The birth of a new image culture . . . . . . . . . . . . . . . . . . . . . . . . . . 294
The 2000s: image saturation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
POP ART, FROM ESPOUSING TO DENOUNCING THE MATERIAL STAGING
OF THE SELF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298
Andy Warhol, Pop Art, and the “fifteen minutes of fame” . . . . . . 298
Pop art’s lasting influence on our image culture . . . . . . . . . . . . . . 301
From the 15 minutes of fame to the age of the influencer . . . . . . . 302
Contemporary literatures attesting to the distortion of self
and world . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303
The memoir boom of the 1990s and 2000s . . . . . . . . . . . . . . . . . . 306
In today’s spotlight: LGBTQ+ and otherwise distinctive female artists
who dared to stage themselves . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Beyond the culture wars: discovering Vivian Maier,
anonymous self-portraitist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309
BIBLIOGRAPHY
THE POETIC PERSONA ON THE STAGE . . . . . . . . . . . . . . . . . . . . . . . . . . 313
FIRST STAGINGS OF THE SELF IN PROSE . . . . . . . . . . . . . . . . . . . . . . . . 315
THE STAGING OF THE MODERN SELF . . . . . . . . . . . . . . . . . . . . . . . . . . . 317
SUBALTERN SELVES IN FRONT STAGE PERFORMANCES
AND IMAGE CULTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319
GENERAL REFERENCES WORKS / LITERARY CRITICISM . . . . . . . . . . . . . . 322

Laure Canadas est agrégée d’anglais et enseigne en classes préparatoires littéraires et en section européenne au lycée Jean-Pierre Vernant à Sèvres.