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            <idno type="halRefHtml">&lt;i&gt;Extrême-Orient Extrême-Occident&lt;/i&gt;, 2015, Corps souffrants dans les littératures de la Chine et du Japon au XXe siècle, 39, pp.85-118. &lt;a target="_blank" href="https://dx.doi.org/10.4000/extremeorient.519"&gt;&amp;#x27E8;10.4000/extremeorient.519&amp;#x27E9;&lt;/a&gt;</idno>
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              <p>As they internalize the aesthetic canons of the twenties and thirties based on grotesque, eroticism and nonsense, Edogawa Ranpo’s detective stories are characterized by an abundance of dismembered and reconfigured bodies, especially women. Despite the violence pervading these stories, the description of the suffering body is surprisingly absent. Such a trait signals the author’s attempt at twisting the techniques and the stereotypes of the detective fiction and proposing an original and almost interactive approach of the relations between author, text and reader instead of the display of suffering the reader is yearning for. The analysis of “The Caterpillar” (1929) provides us with a key to understand the ambiguity of Edogawa’s work as to physical suffering</p>
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              <p>Les récits policiers d’Edogawa Ranpo sont caractérisés par une abondance de corps, surtout féminins, démembrés, reconfigurés, s’appropriant certains canons esthétiques des années 1920 et 1930 basés sur le grotesque, l’érotisme et l’absurde. Malgré la violence qui traverse ces histoires, la description du corps souffrant y est étonnamment absente, trait qui signale le désir auctorial de détourner les techniques et stéréotypes du genre policier pour proposer, là même où l’on attendrait une souffrance exhibée, une approche originale, quasi interactive, du rapport entre auteur, texte et lecteur – comme le montre l’examen de « La chenille »(1929), clé d’une œuvre ambivalente au regard de la souffrance physique.</p>
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