@article {721, title = {Communications n{\textdegree}118: "Raconter, et construire des mondes"}, year = {2026}, abstract = {

Des Rougon-Macquart {\`a} l{\textquoteright}univers Marvel, du panth{\'e}on de Lovecraft aux cr{\'e}atures Pok{\'e}mon, du Seigneur des Anneaux {\`a}The Witcher en passant par Dungeons \& Dragons, les mondes fictionnels ont envahi le paysage, tous m{\'e}dias confondus. Ils sont bien entendu tiss{\'e}s de r{\'e}cits, mais aussi enrichis d{\textquoteright}illustrations, de g{\'e}n{\'e}alogies, de cartes, d{\textquoteright}entr{\'e}es encyclop{\'e}diques, de langues autochtones, voire de livres de cuisine, de manuels techniques ou de grimoires occultes. Avec le d{\'e}veloppement des loisirs interactifs, ces mondes sont devenus des espaces de jeu, d{\textquoteright}invention et de socialisation, mais aussi des terrains d{\textquoteright}affrontement culturel.

Ces cr{\'e}ations tous azimuts ne proviennent presque plus d{\textquoteright}individus seuls, mais d{\textquoteright}{\'e}quipes de plus en plus sp{\'e}cialis{\'e}es, et les communaut{\'e}s de fans s{\textquoteright}impliquent souvent dans ces vastes entreprises de worldbuilding. Ce processus transforme conjointement la structure des {\oe}uvres de fiction et l{\textquoteright}organisation des industries de divertissement.

Par leur poids {\'e}conomique croissant, par leur r{\'e}sonance culturelle parfois plan{\'e}taire, par les questions esth{\'e}tiques et {\'e}thiques qu{\textquoteright}ils soul{\`e}vent, les mondes fictionnels constituent un point de rencontre - et souvent de friction - entre les {\'e}quipes cr{\'e}atives, les diffuseurs m{\'e}diatiques et leurs diff{\'e}rents publics. Distribu{\'e}s {\`a} l{\textquoteright}{\'e}chelle internationale, dans un contexte globalis{\'e}, ils impliquent aussi de nombreuses probl{\'e}matiques et r{\'e}appropriations locales. Pour le monde de la recherche, le worldbuilding offre des {\'e}clairages in{\'e}dits sur la narratologie, la psychologie et la sociologie de la r{\'e}ception, l{\textquoteright}{\'e}conomie de la culture et les th{\'e}ories de la fiction.

}, isbn = {9782021619645}, author = {Ca{\"\i}ra, Olivier and Goudmand, Ana{\"\i}s} } @book {697, title = {Handbook of Diachronic Narratology}, series = {Narratologia}, volume = {86}, year = {2023}, pages = {914}, publisher = {De Gruyter}, organization = {De Gruyter}, edition = {1st}, address = {Berlin/Boston}, author = {Peter H{\"u}hn and John Pier and Wolf Schmid} } @book {701, title = {The Narrator: A Problem in Narrative Theory}, series = {Frontiers of Narrative}, year = {2023}, pages = {386}, publisher = {University of Nebraska Press}, organization = {University of Nebraska Press}, address = {Lincoln}, abstract = {

The narrator (the answer to the question {\textquotedblleft}who speaks in the text?{\textquotedblright}) is a commonly used notion in teaching literature and in literary criticism, even though it is the object of an ongoing debate in narrative theory. Do all fictional narratives have a narrator, or only some of them? Can narratives thus be {\textquotedblleft}narratorless{\textquotedblright}? This question divides communicational theories (based on the communication between real or fictional narrator and narratee) and noncommunicational or poetic theories (which aim to rehabilitate the function of the author as the creator of the fictional narrative).

Clarifying the notion of the narrator requires a historical and epistemological approach focused on the opposition between communicational theories of narrative in general and noncommunicational or poetic theories of the fictional narrative in particular. The Narrator offers an original and critical synthesis of the problem of the narrator in the work of narratologists and other theoreticians of narrative communication from the French, Czech, German, and American traditions and in representations of the noncommunicational theories of fictional narrative. Sylvie Patron provides linguistic and pragmatic tools for interrogating the concept of the narrator based on the idea that fictional narrative has the power to signal, by specific linguistic marks, that the reader must construct a narrator; when these marks are missing, the reader is able to perceive other forms and other narrative effects, specially sought after by certain authors.

}, author = {Sylvie Patron} } @book {482, title = {Jan Mukarovsky. Ecrits 1928-1946}, year = {2018}, pages = {302}, publisher = {Editions des Archives Contemporaines}, organization = {Editions des Archives Contemporaines}, address = {Paris}, issn = {9782813002488}, doi = {10.17184/eac.9782813002488}, url = { eac.ac/books/9782813002488}, author = {Pier, John and Vallance, Laurent and Bilek, Petr A. and Kubicek, Tomas} } @article {470, title = {Le formalisme russe cent ans apr{\`e}s - Communications n{\textdegree} 103}, year = {2018}, author = {C. Depretto and J. Pier and Ph. Rouissin} }