French Literature Reviews - 2026
Y. Landerouin, La Critique créative. Une autre façon de commenter les œuvres
Literary Theory, Linguistics and Stylistics
Bibliographic reference: Yves Landerouin, La Critique créative. Une autre façon de commenter les œuvres, Honoré Champion, "Le Dialogue des arts" series, 2016. EAN13: 9782745330079. 160 p. 38 EUR
The reception of works of art sparks countless studies across all fields of literary and artistic research. Published in 1890, The Critic as Artist offers a perspective whose significance has perhaps not yet been fully appreciated. In it, Oscar Wilde champions a form of creative criticism, which this book attempts to define by examining various types of works that fall within its scope, spanning the turn of the 20th century to the present day. The study thus explores, from a unique angle, "imaginary portraits" of artists, novelistic evocations of musical or visual works, poetic texts (notably certain Bildgedichte), and theatrical pieces, as well as the work of renowned interpreters of the past (Anton Rubinstein) or present (Glenn Gould, Daniel Mesguich, Peter Sellars). Ultimately, following Wilde, this volume aims to encourage a fresh perspective on the most daring stage productions, as well as the "least literal" interpretations or adaptations, while accepting that similar kinds of "betrayals" may well inspire the writing of critical texts.
Yves Landerouin is a professor of comparative literature at the University of Pau and the Adour Regions. He has published numerous articles on the intersections between literature and other art forms. He is also the author of an essay on the turn-of-the-century novel (Le roman de la quête esthétique) and has edited plays by Jean Giraudoux.
The notion of creative criticism draws upon the aesthetic tradition established by Oscar Wilde, who proposed that the act of criticism itself constitutes a form of artistic creation. This approach examines the boundary between the primary work of art and secondary commentary, suggesting that the critic engages in the meaning-making process. By shifting the focus toward subjective engagement, this critical mode allows for an interaction between different media, including music, visual arts, and performance, as explored in the works discussed in La Critique créative.
The study examines how various genres, such as the imaginary portrait, the novel, and the Bildgedichte, facilitate the intersection between critical reflection and creative expression. By analyzing the interpretations of figures like Glenn Gould and Peter Sellars, the text highlights how performance and adaptation can function as critical acts. Readers interested in the history of aesthetic theory and the evolution of interdisciplinary commentary may find these reflections on the relationship between the critic and the creator relevant.