{"id":2189,"date":"2025-03-07T07:30:00","date_gmt":"2025-03-07T06:30:00","guid":{"rendered":"https:\/\/fima.ub.edu\/edl\/la-novella-negra-francesa\/"},"modified":"2026-03-04T14:14:56","modified_gmt":"2026-03-04T13:14:56","slug":"la-novella-negra-francesa","status":"publish","type":"post","link":"https:\/\/fima.ub.edu\/edl\/la-novella-negra-francesa\/","title":{"rendered":"La novel\u00b7la negra francesa"},"content":{"rendered":"

<\/a>Levet, Natacha. Le roman noir, une histoire fran\u00e7aise<\/em>. Paris: PUF, 2024. 413 p. ISBN 978-2-13-084198-2.<\/p>\n

Des del 2020, el festival Quais du Polar celebrat a Li\u00f3 atorga el premi Claude Mespl\u00e8de<\/a> a un llibre de no-ficci\u00f3 sobre novel\u00b7la negra que contribueixi a millorar-ne el coneixement en forma d\u2019assaig, obra hist\u00f2rica, correspond\u00e8ncia, document, investigaci\u00f3, traducci\u00f3, edici\u00f3 d\u2019obres completes o in\u00e8dites, aix\u00ed com noves traduccions o fins i tot obres acad\u00e8miques i universit\u00e0ries. El 2024, el guard\u00f3 va recaure en aquesta obra de Natacha Levet, professora i investigadora de la Universitat de Llemotges, especialista en novel\u00b7la negra francesa i altres ficcions criminals i membre del Centre d\u2019Investigaci\u00f3 sobre Literatures Populars i Cultures Medi\u00e0tiques. <\/p>\n

Qui sol defugir l\u2019assaig acad\u00e8mic per feixuc, aniria errat si ho fes en aquest cas. L\u2019obra de Natacha Levet \u00e9s un apassionant estudi de lectura plaent i al mateix temps rigor\u00f3s i molt ben documentat. El llibre est\u00e0 estructurat en quatre grans apartats que contenen catorze cap\u00edtols, a m\u00e9s de la introducci\u00f3, les conclusions, els agra\u00efments, les notes, l\u2019\u00edndex de noms i la bibliografia.<\/p>\n

El g\u00e8nere negre neix a Fran\u00e7a d\u2019una certa idea del hardboiled<\/em> nord-americ\u00e0 perqu\u00e8, com diu Uri Eisenzweig,[1]<\/a> un g\u00e8nere literari es constitueix quan \u00e9s conscient de si mateix, \u00e9s a dir, \u00e9s identificat pels autors, editors, cr\u00edtics i lectors. L\u2019aparici\u00f3 el 1945 de la col\u00b7lecci\u00f3 \u00abS\u00e9rie Noire\u00bb de Gallimard, dirigida per Marcel Duhamel, seria el punt en qu\u00e8 la consci\u00e8ncia pren nom, per\u00f2 el terme \u00abroman noir\u00bb no s\u2019imposar\u00e0 fins a la d\u00e8cada seg\u00fcent, juntament amb el de \u00abfilm noir\u00bb, donat el car\u00e0cter multimedi\u00e0tic del g\u00e8nere. Ara b\u00e9, la utilitzaci\u00f3 de l\u2019adjectiu \u00abnoir\u00bb s\u2019empra a Fran\u00e7a en literatura des dels anys trenta, aplicat a novel\u00b7les franceses i nord-americanes amb visions desencantades i pessimistes de la humanitat, amb els seus excessos i viol\u00e8ncies. Aix\u00ed, autors com L\u00e9o Malet, Jean Meckert (Jean Amila) o Georges Simenon publiquen en el per\u00edode d\u2019entreguerres obres que s\u2019hi poden inscriure.<\/p>\n

De fet, l\u2019autora en cerca les arrels en la novel\u00b7la realista francesa del segle XIX amb Honor\u00e9 de Balzac o Victor Hugo, autors que Didier Daeninckx, Patrick Raynal o Jean-Bernard Pouy reivindiquen (i de seguida em ve al cap el magn\u00edfic film noir<\/em> que Fritz Lang fa amb La b\u00e8stia humana<\/em> de Zola). Analitza l\u2019obra de Georges Simenon, que transgredeix les fronteres gen\u00e8riques, no tria ni el cam\u00ed de l\u2019enigma ni el de l\u2019acci\u00f3 pura del hardboiled<\/em>, i apareix al mateix temps que els primers autors nord-americans de novel\u00b7la negra, fet que el converteix en un cas a part. Tamb\u00e9 la novel\u00b7la social i prolet\u00e0ria, on s\u2019hi poden enquadrar Jean Meckert, L\u00e9o Malet, Fr\u00e9d\u00e9ric Dard, Andr\u00e9 H\u00e9l\u00e9na o Albert Simonin. Aix\u00ed, la novel\u00b7la negra francesa tindr\u00e0 m\u00faltiples or\u00edgens m\u00e9s enll\u00e0 de les reescriptures locals del hardboiled<\/em>.<\/p>\n

Levet assenyala el per\u00edode entre 1945 i 1968 como l\u2019edat d\u2019or de la novel\u00b7la negra francesa i ressegueix els autors del pa\u00eds que publiquen a la \u00abS\u00e9rie Noire\u00bb, els primers sota pseud\u00f2nim cap als anys quaranta; despr\u00e9s, als inicis dels cinquanta ja amb el nom veritable. L\u2019arribada dels primers \u00e8xits amb No toqueu la guita!<\/em>, d\u2019Albert Simonin (La Magrana, 1989), o Du rififi chez les hommes<\/em>, d\u2019Auguste Le Breton (Folio, 1999). Despr\u00e9s vindr\u00e0 el per\u00edode 1968-1989, marcat pel naixement i arrelament del n\u00e9o-polar<\/em>, una generaci\u00f3 d\u2019autors gaireb\u00e9 tots nascuts despr\u00e9s de 1945 \u2013excepte Jean-Patrick Manchette, Jean-Pierre Bastid i Jean Vautrin\u2013, marcats pel Maig del 68, l\u2019oposici\u00f3 a la guerra d\u2019Alg\u00e8ria i el pensament d\u2019esquerres; portantveus de les den\u00fancies socials, les desigualtats, la viol\u00e8ncia institucional, les injust\u00edcies i el racisme. Finalment, analitza l\u2019evoluci\u00f3 de la novel\u00b7la negra francesa del per\u00edode 1990-2023, que es caracteritza per una feminitzaci\u00f3 del g\u00e8nere, amb un increment notable tant d\u2019escriptores com de lectores, aix\u00ed com de la introducci\u00f3 de la pol\u00edtica i la hist\u00f2ria en les trames de la novel\u00b7la negra recent.<\/p>\n

Un llibre indispensable per veure l\u2019evoluci\u00f3 de la novel\u00b7la negra francesa i com a poc a poc s\u2019ha anat deslligant de la nord-americana per trobar el seu propi cam\u00ed i ser un aut\u00e8ntic reflex de la realitat francesa.<\/p>\n

Jordi Canal<\/a> 
Bibliotecari<\/p>\n

[1]<\/a>Eisenzweig, Uri (dir.). Autopsies du roman policier<\/em>. Paris: Union G\u00e9n\u00e9rale d\u2019\u00c9ditions, 1983. (10\/18; 1590).<\/p>\n","protected":false},"excerpt":{"rendered":"

Levet, Natacha. Le roman noir, une histoire fran\u00e7aise. Paris: PUF, 2024. 413 p. ISBN 978-2-13-084198-2….<\/p>\n","protected":false},"author":1,"featured_media":3370,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_seopress_robots_follow":"","_seopress_robots_imageindex":"","_seopress_robots_snippet":"","_seopress_robots_primary_cat":"","_seopress_robots_breadcrumbs":"","_seopress_robots_freeze_modified_date":"","_seopress_robots_custom_modified_date":"","_seopress_robots_canonical":"","_seopress_social_fb_title":"","_seopress_social_fb_desc":"","_seopress_social_fb_img":"","_seopress_social_fb_img_attachment_id":0,"_seopress_social_fb_img_width":0,"_seopress_social_fb_img_height":0,"_seopress_social_twitter_title":"","_seopress_social_twitter_desc":"","_seopress_social_twitter_img":"","_seopress_social_twitter_img_attachment_id":0,"_seopress_social_twitter_img_width":0,"_seopress_social_twitter_img_height":0,"_seopress_redirections_value":"","_seopress_redirections_enabled":"","_seopress_redirections_enabled_regex":"","_seopress_redirections_logged_status":"","_seopress_redirections_param":"","_seopress_redirections_type":0,"_seopress_analysis_target_kw":"","_seopress_news_disabled":"","_seopress_video_disabled":"","_seopress_video":[],"_seopress_pro_schemas_manual":[],"_seopress_pro_rich_snippets_disable_all":"","_seopress_pro_rich_snippets_disable":[],"_seopress_pro_schemas":[],"inline_featured_image":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1400],"tags":[1133],"class_list":["post-2189","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ressenyes","tag-llibres"],"acf":[],"taxonomy_info":{"category":[{"value":1400,"label":"Ressenyes"}],"post_tag":[{"value":1133,"label":"llibres"}]},"featured_image_src_large":["https:\/\/fima.ub.edu\/edl\/wp-content\/uploads\/2025\/03\/coberta_le_roman_noir.jpg",314,500,false],"author_info":{"display_name":"jordi","author_link":"https:\/\/fima.ub.edu\/edl\/author\/jordi\/"},"comment_info":0,"category_info":[{"term_id":1400,"name":"Ressenyes","slug":"ressenyes","term_group":0,"term_taxonomy_id":1400,"taxonomy":"category","description":"","parent":0,"count":1345,"filter":"raw","cat_ID":1400,"category_count":1345,"category_description":"","cat_name":"Ressenyes","category_nicename":"ressenyes","category_parent":0}],"tag_info":[{"term_id":1133,"name":"llibres","slug":"llibres","term_group":0,"term_taxonomy_id":1133,"taxonomy":"post_tag","description":"","parent":0,"count":1214,"filter":"raw"}],"_links":{"self":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts\/2189","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/comments?post=2189"}],"version-history":[{"count":1,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts\/2189\/revisions"}],"predecessor-version":[{"id":3705,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/posts\/2189\/revisions\/3705"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/media\/3370"}],"wp:attachment":[{"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/media?parent=2189"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/categories?post=2189"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fima.ub.edu\/edl\/wp-json\/wp\/v2\/tags?post=2189"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}