Read e-book Marguerite Duras : Ecriture et politique (Critiques Littéraires) (French Edition)

Free download. Book file PDF easily for everyone and every device. You can download and read online Marguerite Duras : Ecriture et politique (Critiques Littéraires) (French Edition) file PDF Book only if you are registered here. And also you can download or read online all Book PDF file that related with Marguerite Duras : Ecriture et politique (Critiques Littéraires) (French Edition) book. Happy reading Marguerite Duras : Ecriture et politique (Critiques Littéraires) (French Edition) Bookeveryone. Download file Free Book PDF Marguerite Duras : Ecriture et politique (Critiques Littéraires) (French Edition) at Complete PDF Library. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Here is The CompletePDF Book Library. It's free to register here to get Book file PDF Marguerite Duras : Ecriture et politique (Critiques Littéraires) (French Edition) Pocket Guide.
Cahier Blanchot
Contents:


  1. Find a copy in the library
  2. Discours sur les prix littéraires | Académie française
  3. "Qui a tué mon père" : que vaut le "J'accuse" d'Edouard Louis ?
  4. Marguerite Duras : écriture et politique

Politique de l'autobiographie. Henri Deluy, ici et ailleurs. Publication Date: Publication Name: Le temps des cerises. View on letempsdescerises. Articles, chapitres de livres. Ressorts cathartiques pour rire des tensions qui traversent ce milieu, les publications de Shit Academics Academic Performance and University.

View on psn. View on revuerectoverso. Bouter les Allemands hors de France. Jeanne d'Arc dans Formation de Pierre Guyotat more. Publication Date: Oct Publication Name: nalyses. View on uottawa.

Find a copy in the library

View on revue-critique-de-fixxion-francaise-contemporaine. View on salondouble. Pierre Guyotat et les politiques du textualisme more. Pierre Guyotat , Tel Quel , and Textualisme. View on papyrus. Pierre Guyotat devant l'histoire. Cahier des charges more. You already recently rated this item. Your rating has been recorded. Write a review Rate this item: 1 2 3 4 5. Preview this item Preview this item. Subjects Duras, Marguerite -- Criticism and interpretation. Duras, Marguerite -- Political and social views. View all subjects More like this Similar Items.

Discours sur les prix littéraires | Académie française

Allow this favorite library to be seen by others Keep this favorite library private. Find a copy in the library Finding libraries that hold this item Marguerite Duras. Reviews User-contributed reviews Add a review and share your thoughts with other readers.

Be the first. Add a review and share your thoughts with other readers. Duras, Marguerite. Political and social views. Politisches Denken. Politik Motiv. Linked Data More info about Linked Data. All rights reserved. The chant "Savanna-khet", the doleful plaint of the beggar woman that settles over the heavy violet atmosphere of the summer monsoon at the beginning of the film - 36 -India Song, evokes a powerful connection with the past, for this is what Anne-Marie Stretter recognizes, Savannakhet having been her home before Calcutta: On Dit: A Calcutta on ne sait pas encore aujourd'hui si elle etait releguee au fond de la honte ou de la douleur a Savannakhet lorsqu'il l'a trouvee Le Vice-Consul, p.

To go hack to Savannakhet "Ca va a. D'au-tant plus sensible que l'a'ge de 1'autobiographie est souvent celui de la maturite, et du moment ou elles saisi-ssent la ressemblance avec leur mere, ayant alors l'age qu'elle avait lors de leur enfance. Le retour a. Je l'ai vraiment connue; j'ai connu ses f i l l e s aussi. Elle etait la femme de 1'administrateur general du poste de Vinh-Long sur le Mekong, et je l'ai vue souvent, j'avals huit ans, je.

"Qui a tué mon père" : que vaut le "J'accuse" d'Edouard Louis ?

Je ne me suis pas trompee d'ailleurs. Elle etait vraiment ce que j'ai dit: elle etait rousse, elle avait les yeux clairs, elle avait beaucoup d'amants. Un de ses amants s'est suicide. Tout etait juste. Les enfants voient bien From this same matrix there will eventually emanate Aurelia Steiner,. The Crisis and the Beginning of an Identity Quest In his study of the rhetoric of the self-portrait, Miroirs d'encre, 37 Michel Beaujour poses the question: "Un roman peut-il etre autoportrait?

Le lecteur, bien sur. Ce second sens dii mot reflete done, autant qu'un nouveau type d'ecriture, 1'emergence d'une nouvelle maniere de l i r e. In a similar way, the later works of Marguerite Duras can be seen as an amorphous, achronological outpouring and reaction against the organized story-telling of her earlier writings, as though she were following then, formulae she now refuses. Since there is no "autobiographical pact" in her works being considered here, the self-portrait is expressed through the language itself, with the events camou-flaged in the fiction.

Seeing these texts as self-portraiture is thus an interpretation, a thesis requiring justification and defence. The adoption of this perspective was initially inspired by certain characteristics of this type of writing as outlined by Beaujour, namely: the dominance of space over time, the idea of writing as an adventure into the domain of pure language, the dimension of the quest, and the cryptic or hermetic quality resulting, which relates this genre to the concept of "text" or "production of the text": "Le texte est une productivite.

Cela ne veut pas dire qu'il est le produit d'un travail tel que pouvaient l'exiger la narration et la maitrise du style , mais le theatre meme d'une production ou se rejoignent le producteur du texte et son lecteur: le texte 'travaille', a chaque - 39 -moment de quelque cote qu'on le prenne; meme ecrit fixe , i l n'arrete pas de travailler, d'entretenir un processus de production.

The role of the reader takes on a new importance as "co-producer" in the text. This aspect becomes increasingly apparent in the "India Song" texts of Marguerite Duras. A literary self-portrait, as opposed to the more rigorously organized autobiography, is fi r s t of a l l , according to Beaujour's study, "un montage": a more loosely and intuitively organized rendering of selected events in a person's l i f e , answering the question "who am I? To generalize, in such writing time will depend upon space in-stead of the converse, the situation in the traditional novel. This trans-formation from the temporal to the atemporal is seen equally in the modern concept of the "text" here described by Genette in Figures II: Depuis Mallarme nous avons appris a reconnaxtre a.

In other words the autobiographer knows certain time limits: birth and death; whereas the self-portraitist is plunged deeply into the metaphysical - 40 -dimension of an endless present which the act of writing makes manifest. This is where the etymological connection between "texf'and "tissu" is per-ceived, as observed by Genette Following the transition brought about by the crisis in her l i f e recounted in fictionalized form in Moderato Cantabile, the writing of Marguerite Duras becomes increasingly hermetic, at once poetic and "pared" down: adjectives and eventually pronouns become sparce, disappear, verbs and phrases are repeated like echos, substantives and superlatives abound, and, most important, the image prevails.

The passage from La Femme du Gange cited earlier p. It is as though the distance created between the reader and the text, in the act of telling which dominates the narrative, had been reduced to a minimum: we move about, carried by the rythm of the sentences — like the short chopping strokes of waves — in a world where words are auto-nomous.

Menu de navigation

As Dominique Noguez expresses i t Genette, reprenant - 41 -Hjelmslev la grande critique aidee de la grande linguistique dirait: 1'expression et le contenu ont la meme forme. For instance, while writing in the autobiographical mode, Marguerite Duras would t e l l stories, permitting herself to paint the inner thoughts of her characters, thus giving them a contrived depth and autonomy. Suzanne, in Un Barrage contre le Pacifique, for example has sentiments which she expresses as would any young gi r l feeling the advent of woman-hood: Suzanne s'asseyait contre la croisee.

Le bruit du tram arrivait assourdi jusque dans la chambre. Mais tout ce que Suzanne voyait de la ville, d'ici, c'etait son grand fleuve a. Carmen avait tort de s'inquieter pour elle. Deja, a force de voir tant de films, tant de gens s'aimer, tant de departs, tant d'enlacements, tant d'embrassements definitifs, tant de solu-tions, tant et tant, tant de predestina-tions, tant de delaissements cruels, certes, mais inevitables, fatals, deja ce que Suzanne aurait voulu c'etait quitter la mere Un Barrage contre le Pacifique, p.

In this autobiographical novel the mother, in her pathetic battle against the sea, forms a center around which the world revolves, and, against which i t finally reacts, as this passage reveals; in the later "India Song" texts, i t is the sea itself that plays this central role, but instead of the unifying effect experienced previously, the latter creates - kz -a dispersing or disseminating effect. In L'Amour, La Femme du Gange and Son Norn de Venise dans Calcutta desert, the characters wander homeless, as though cut off from a center and stranded on the sandy beach where the sea predominates.

The fluid language of the text here imitates the liquid landscape i t is painting, a seascape that has attained the same mysterious autonomy as the characters: Quelque part sur la plage, a dr. This fluidity of language in turn reflects the attentive listening by the author to the flow of words combining image and feeling, memories, perhaps from childhood where heart and feelings formed a house open and exposed to the violences offered by l i f e : M.

Non encore mise a jour. C'est ce blanc de la chaine dont vous parliez. Je ne veux pas dire psycha-nalyse A very different outward expression of a unique inner landscape now influences the writing, for the characters arrive on the page as though unfinished. Nameless and wandering in. Like Echo in the transformative myth of Narcissus, they seem - 43 -somehow condemned to repeat in strange hallucinatory movements and hauntingly repetitive language, the events which have gone before them: reflecting and repeating, repeating and reflecting.

The following description of "la femme" in L'Amour, in comparison with the above description of Suzanne, is completely exterior-ized: a woman as pure object is here painted in the attitude of refusal, the insignia of the Durassian heroine: La femme est regardee. Elle se tient les jambes allongees. Elle est dans la lumiere obscure, encastree dans le mur. Yeux fermes. Ne ressent pas etre vue. Ne sait pas etre regardee.

Elle tient face a, la mer. Visage blanc. Mains a. Force arretee, deplacee vers 1'absence. Arretee dans son mouvement de fuite. One becomes immersed, through the unusual staccatto-like rythm of the language, in the same emotion — or absence of emotion — that compels the words, like the characters, to dissemble and reassemble continuously with hypnotic fluidity on the otherwise empty beach. The "absence" of Lol's suffering the night of the ball?

Michele Montrelay describes this absence which she sees as haunting a l l women's writing in these terms: En ecrivant, un homme se separe de L'Autre avec les mots, avec leur substance feminine dont i l s'assure simultanement qu'un reste demeure sur le papier. Avec les mots, les femmes ont une autre relation. Ils sont le prolongement d'elles-memes. Si, comme le dit Helene Gixous dans La Jeune Nee, elles risquent dans l'angoisse tout leur etre quand i l leur faut "prendre la parole", c'est qu'elles savent que I'espace ou les mots vont resonner, souvent denature et refuse.

Within such a male-defined corpus, woman can only experience language in its "productive" state in the text --the relationship of the writer to language in the self-portrait — as a return to self or the same, and in so doing i t , forms a contiguity from which she necessarily has difficulty separating herself. Although for the most part the analysis of Beaujour is restricted to carefully chosen works all written by males! II s'agit - 45 -dans les deux cas d'une espece de prematuration, le texte etant livre au public en un moment de sa genese, au stade du brouillon. Je ne m'occupe jamais de rejoindre un sens.

C'est a vous de le faire. Je la laisse dans un etat pantelant, la phrase. The very antithesis of writing with a reassuring plot and secure narrative, the Durassian text which follows Le Ravissement de Loi V. Stein is instead a "recherche qui aboutit a en savoir de moins en moins, mais a, comprendre que cette descente vers le neant est la seule 49 connaissance. Stein represents a progressive loss of identity, the unconscious living out of that refusal latent to the Durassian female consciousness, becoming aware of itself in a society from which female consciousness of self has been excluded: Ce fut la.

On pouvait, me parait-i l , en savoir moins encore, de moins en moins sur Loi V. Stein, L. Female identity restricted to the role of mother and mate to man, an identity reinforced by men in defense of - 46 -their patriarchal power and stereotyped "by a long l i s t of qualities: passive, inferior, giving, receptive etc. From this ground of repression and silence arise the rich re-sources of potential power that belong to modern woman.

Thus the ambiguity. This female power is associated with a primeval "force" and is very different from male power, associated with aggression and domination. The contrast between these two modes of being will become clearer when the texts are considered more closely in their movement from "le regard" to "l'ecoute", the subject of Part II. This identity search paradoxically qualified by a progressive loss of identity is first recognized in the name "Loi V. During her illness following the ball, Lola Valerie Stein rejects her name, in anger: Elle prononcait sonnom avec colere: Loi V.

Stein — c'etait ainsi qu'elle se designait L. Loi: two "l's" like the "deux ailes" of the casino at T-Beach limiting the emptiness of the center following the ball, in turn a reflection of the emptiness of the young woman projected into the scene before her eyes: "o"- nothing, "rien", neutered thing: Au centre de T-Beach, d'une blancheur de lai t , immense oiseau pose, ses deux ailes regulieres bordees de balustrades, sa terrasse surplombante, ses coupoles vertes, ses rodomontades, ses fleurs, ses anges, ses guirlandes, ses ors, sa blancheur toujours de lait, de neige, de sucre, le casino municipal.

Thala the spelling has changed which is - 4? The "V" of Loi V. Stein is like a clean cut in the middle: the feminine sex or the slice dividing the nothingness of the "o" flanked by the two graceful "l's" from the petrified identity of the father: Stein from the greek petros-"pierre". As Jacques Lacan play-fully analyses i t : Loi V. Stein: ailes de papier, V, ciseau, Stein, la pierre, au jeu de la mourre tu te perds. Personne n'a jamais pu trancher, la separer d'aucun objet Le fractionne-ment in i t i a l de l'etre, ou Bejahung, n'a pas eu lieu.

Dans sa misere, Loi ne perd rien. Horreur d'etre Loi V. Stein, intacte et toute sans repit. Tout ange ou toute bete. Tout entiere ravie dans l'amour, tout entiere dechue comme chose. Toute Loi re-pandue ou toute Stein petrifiee. Loi is eventually lost, the name disappearing, with only the space of the ball remaining, The name Stein, however, continues like a tradition, a solid stone structure — or perhaps the materiality of language?

Stein -stone might then be likened to the Sphinx which represents, according to the analysis of Beaujour, the buried other half of our psyche, symbolized by the hieroglyph which has been subsumed by our phonetic writing. He quotes Derrida's L'Ecriture et La difference in support of this concept: Le mot de l'enigme, Serit Derrida, la parole d'Oedipe, le discours de la con-science, l'homme de"truit, dissipe ou pre-cipite le petroglyphe.

A la stature du Sphinx, animalite de 1'esprit endormi dans le signe pierreux, mediation entre - 48 -la matiere et l'homme, duplicite de 1'intermediaire, correspond la figure de Thoth, dieu de 1'ecriture. Tracing the unravelling of the ball scene from text to text reveals a portrait of the woman as writer and of writing and language itself from a renewed "feminine" perspective.

Stein is the young woman of eighteen who is left "ravished", both "rapt" her soul carried off like Persephone from the field of narcissi into the underworld by the shock of seeing her fiance with another woman, and "enraptured", for she, like the others, falls under the powerful spell of the beautiful, older woman, Anne-Marie Stretter.

Eighteen -ill-fated and charmed age of the onset of womanhood? It is with this age that Marguerite Duras later in L'Amant associates her "visage detruit": "Non, i l est arrive quelque chose lorsque j'ai eu dix-huit ans qui a fait que ce visage a eu lieu," L'Amant, p. The central "daughter" heroines are a l l of this same age: Alissa of Detruire, dit-elle. Stein of the beginning of Le Ravissement de Loi V. J'ai oublie. Voix I Un matin. Au tennis. Ici a S. II etait le f i l s de grands proprietaires terriens. II ne faisait rien,. Le mariage devait avoir lieu a l'automne F. She too is eighteen years old: Je m'appelle Aurelia Steiner.

J'habite Vancouver ou mes parents sont professeurs. J'ai dix-huit ans. J' ecris.. It is as a return to this land of suffering, of want, and, at the same time, of a fabulous freedom, that we experience the "India Song" texts, a l l power-fully imagined works coming from a common source: the repressed child-hood that resurges from the unconscious mind or "memoria" at mid-life, often precipitated by a crisis.

It is this experience which reveals to us what we are underneath what we have become: M. Je l' a i raconte. J'avais dix-huit ans quand je suis partie pour passer ma philo i c i , la deuxieme partie, et faire l'universite, et je n'ai plus pense a. C'avait ete trop douloureux. J'ai completement occulte. Et je me trimbalais dans la vie en disant: Moi, je n'ai pas de pays natal; je reconnais rien i c i autour de moi, mais le pays ou j'ai vecu, c'est l'horreur Le pays natal s'est venge.

To be a woman writer is to find an identity in language, an integration of self not possible in these separate roles. The moment of violence, of refusal, of crisis, the moment when a "no" is articulated, has marked the Durassian text. We see i t in Lol's refusal of her name, in the screams of the murdered woman in Moderato Cantabile and in the anguished cries of the vice-consul from Lahore.

These cries and screams mingle with the chant of the beggar woman and reverberate throughout the self-portrait until their disappearance resolution? Writing appears to begin from this point, and its message corroborates that of Beaujour: from a realization of loss which so often brings a crisis, one begins to move toward self-portraiture. The paradigm Beaujour uses originates with Montaigne: with the death of his good friend, La Boetie, an absence was created in his l i f e , an absence which he f i l l e d with his Essais, his self-portrait.

The Essais in turn function as a mirror, reflecting the writer, the culture, and finally, the reader who will find there his own portrait. It is a disquieting portrait revealed in Marguerite Duras' writing, one qualified by a loss of identity, suffering, - 51 -absence, and culminating, paradoxically, In total freedom. It is the portrait of woman in writing.

There is common ground, however, for the male self-portraits analyzed by Beaujour join: the Durassian self-portrait in that fascinating dimension of quest, where writing is pulled into the limitless excursion of the text, the journey becoming an obscure search for an origin and a history.

In the words of Beaujour, here referring specifically to Fugue by Roger Laporte: Acte de naissance d'un nouveau genre, Fugue souligne ce qui separe 1'auto-portrait des constructions narcissiques autobiographie, journal, memoires etc. Et la quete elle-meme fait partie du livre. Je ne sais jamais ce qui va arriver — jamais. La quete elle-meme suscite d'autres quetes, ce qui devient partie integrante du livre.

Le livre done s'ecrit de lui-meme — vous lisez vraiment un travail de recherche. Stein in which Loi, realizing that she is not going to be able to retain the departing couple, collapses, is the seed which will eventually grow, transforming a l l future time into the space of the ball. Just as this initiatory text is essentially a remembering of the ball, L'Amour, a sort of reduction and synthesis of its prototype, is centered around the - 52 -remembering of that second in which the retreating couple brought the ball to an end.

A telescoping occurs in which we move gradually deeper and deeper within the structure of the writer's imagination where images and memories form one mysterious continuum, and where beginning and end are merely arbitrary terms: Une brume arrive, tres tenue, des embouchures. Elle danse devarit les yeux elle tombe, la mer la dechiquette, mais d'autres rangs de brume arri-vent, dansant.

II dit: — Voyez — i l sourit Toujours la plainte colereuse de l'enfant. On distingue deja moins le mouvement des eaux. L'engouffrement du sel perd de sa force. Le voyageur designe le perron. II demande: — Dites-moi quelque chose de l'histoire. II ne se retourne pas, ne voit rien que devant l u i , i l repond: — A mon avis, 1'ile est sortie en premier — i l montre la mer — de la.

Thala est arrivee apres, avec la poussiere — i l ajoute — vous savez? Souverainete de la femme, qa vient de la. Les hommes l'atteignent rarement. Parce qu'il y a deux fois le silence en elle, i l y a le silence de la femme, et i l y a le silence qui vient de sa vie, a elle, de sa personne.

Stein i l n'y avait pas Anne-Marie Stretter, parce qu'il n'y a pas de raison, cette fascination dure toujours, je ne m'en sors pas, c'est une veritable histoire d'amour Les Lieux.. It is as an announcement of death that Anne-Marie Stretter arrives at the ball at T-Beach, the source from which the other texts flow. Her entry into the "story" gives i t its meaning, permeates the rest with the awe-inspiring beauty of the fatality she seems to represent. She embodies death seemingly with the same grace and facility that she has brought forth l i f e. She is mother as well as beautiful adultress, but with the emphasis on the latter, for i t is she who reduces the men around her to objects of her own desire, so multi-facetted and diffuse is the passion surrounding her: Voix I L'autre homme qui dort?

Voix 2 De passage.


  • Fantasy Paradise (Yaoi Manga).
  • The Mirage of Freedom.
  • The Boat Galley Cookbook: 800 Everyday Recipes and Essential Tips for Cooking Aboard: 800 Everyday Recipes and Essential Tips for Cooking Aboard (International Marine-RMP).
  • If We Make It Through December!
  • Navigation!

Un ami des Stretter. Elle est a qui veut d'elle. La donne, a. Voix I temps, doulure Prostitution de Calcutta. Voix 2 Oui. Chretienne sans Dieu. Voix 2 a peine Oui Both stories lead,us back from the text to the author's childhood of poverty and isolation, to the mother's struggle and suffering in a foreign land: Et cette extraordinaire, cette excessive injustice qui avait ete faite a ma mere est sans doute 1'experience la plus traumatisante que j'aie connue. Avoir vu ma mere pleurer, devenir folle, la voir meprisee par tout le monde, poursuivie par les creanciers, avoir a vendre jusqu'au dernier objet En fait a l'heure de la sieste, ma mere m'envoyait chez le bijoutier chinois du coin pour vendre quelques briocoles qui lui restaient, Avec cet argent nous achetions un peu de viande pour notre repas du soir.

Or — cela constitue une richesse. This process of impoverishment in the Durassian text which brings us gradually to the essence of language, the word-image closing the distance between signifier and signified is described in the following way by Helene Gixous in an interview with Michel Foucault: Ge que Marguerite Duras invente, c'est ce que j'appellerai: l'art de la pauvrete. C'est comme s i tous nos desirs se reinvestissaient sur quelque chose de tout petit qui devient aussi grand que l'amour.

Et cet amour c'est ce rien qui est tout. Death is rather that inexplicable contradiction that none the less infuses li f e with its most precious meaning. It is for this reason that writing begins here, and the screams of the murdered woman in Moderato Gantabile, the cry of Loi at the end of the ball and the anguished screams of the vice-consul of Lahore reverberate throughout the self-portrait, reminding us constantly of the source from which a l l flows and to which a l l will in-evitably return.

According to Heidegger's thought, which touches closely the meaning intuited from these texts, death is "the shrine of nothing-ness" which surrounds and holds everything in unity: Death as "the possibility of the impossibility of existence" or as "shrine of nothingness" is not nothing-at-all, a pure, complete nihil absolutum, but precisely that which constitutes the background and reality of existence.

In the domain of imagination, therefore, sensations dominate over perceptions. What we experience when we read a Durassian text is the intensity of the desire infusing the language: passion, violence, disorder, overwhelming erotic desire, and the unknown. How does woman, "le continent noir" of Freud, experience erotic desire? A woman writes, a text such as India Song would seem to say, from a place of pure passion, in particular, the passion of erotic desire. Pas de reponse. Thala of Loi V. As Dominique Noguez expressively describes i t : C'est toujours, a telle ou telle etape de son deroulement, la meme histoire, a la fois connue et surprenante, simple et perverse — archi-histoire, en verite, tant elle paraft transcender les acteurs qui l'incarnent tirovisoirement.

Certes, la parole durassientie n'est pas desincarnee si elle tend constamment, nous le verrons, comme par une secrete incandescence, a 1'abstraction la plus pure : elle passe — avec quelle vibration pathetique! Mais ces visages, ces lieux, ces couleurs sont des peripeties — les modes d'une substance. Cette substance est la passion. He sees in self-portraiture the pre-sence of an "intratextual memory" which goes beyond the individual, revealing his cultural roots But rather than these culminating points which brand patriarchy, the writing of women reveals a pre-historic time when mythos was not dominated by logos: - 58 -Depuis que les femmes ecrivent sans entrave, quelque chose a change: la conception de l'ecrit et de la littera-ture n'est plus la meme.

Le chant strident des Bacchantes retentit sur lyre d'0rphee. The world of the earlier texts, the waiting without hope of tomorrows, is intensified into a world of passion and of ceaseless wandering. It is a world without history, since i t is a feminine world — undefined and undefinable — at least in masculine terms, in masculine language. It is a world revealing a sustained struggle, with neither victors nor losers, opening up, according to Marcelle Marini, vast new possibilities: Marguerite Duras fait du language et de 1'ecriture l'objet et le territoire privi-legies ou laisser- faire s'affronter Eros et Thanatos: elle y detruit — s'y detruit, y construit — s'y construit, y produit des figurations qui nous font rehover, dans le plaisir, avec des verites de cette langue perdue qui est la notre.

Silence de nouveau. Dans le jardin la lumiere s'obscurcit encore une fois, se plombe. Aucun vent dans le jardin desert. Voix 2 peur, tres bas Le bruit de votre coeur me fait peur Silence Encore un mouvement dans la masse immobile des trois corps endormis: c'est la main de Michael Richardson qui va vers le corps de la femme, le caresse, et reste la, posee. Michael Richardson ne dormait pas. La lumiere s'obscurcit encore.


  • Dont be Silent: Stop Domestic Violence.
  • Professor Leslie Hill FBA: Complete Publications?
  • La Poética (Spanish Edition)!
  • Nelly Kapriélian : "une sorte de "J'accuse" de la part d'un jeune homme de 25 ans"!
  • VTLS Chameleon iPortal Communication Error Occurred..
  • L'Herne – Cahier Blanchot;
  • Cahier Blanchot.

Desir, epouvante de la "voix" 2 Voix 2 Votre coeur, si jeune, d'enfant Voix 2 Ou etes-vous? The first stage of the self-portrait, to simplify the analysis of Beaujour, is "une deambulation imaginaire au long d'un systeme de lieux, depositaire d'image-souvenirs. The essential quality of the system and here the modern genre of the literary self-portrait is like a return to former times is the importance of space: "Ce primat de I'espace sur la duree. With the arrival of Loi V. Stein, the Durassian self-portrait begins, since with Loi a movement is initiated: a repetitive movement which is the wandering of Loi through S.

Thala, her hometown, her childhood, and the place connecting her with the event that ended childhood defini-tively: the fateful ball. Her journey is both a return to the past and a journey into an unknown future, for her fantasy disconnects her step by step from outside reality: Le bal tremblait au loin, ancien, seule epave d'un ocean maintenant tranquille, dans la pluie, a S.

Tatiana, plus tard, quand je le lui ai dit, a partage mon avis. S,, p.

Marguerite Duras : écriture et politique

A transformation has occurred, since a person's l i f e is now being considered in terms of "spatial contingencies", rather than as a "progress transcending them", terms in which Beaujour has described autobiography. The Durassian characters, by their repetitive movement through familiar places, gradually become the embodiment of that space — or the space becomes a projection of their emotions, or lack of emotions.

Thus the - 61 -identity of Loi joins that of. Thala of L'Amour which is in turn an amplification of her absence of inner space — the nothingness left after her total projection into the memory of the ball her descent to the underworld, for a l l the characters in L'Amour are either dead or in a state of limbo, a modern purgatory ; only her obsessive fantasy to re-enact, to re-invent the same scenario, remains: Elle a un geste ouvert d'une tendresse desesperee, elle dit, elle murmure: — S.

Thala, mon S. The paradox of the self-portrait is that we are seeing here a mirror image of our own unconscious where eros and thanatos do battle. Anne-Marie Stretter is another solitary wanderer, whose walks by the deserted tennis courts against which leans her bicycle, abandoned in the s t i l l heavy heat of the summer monsoons haunt India Song.

S t i l l desired yet beyond further desiring, her indifference blends mysteriously with the space which others experience as her embodiment: Je pense qu'Anne-Marie Stretter a depasse tous les prejuges a propos de 1'intelligence ou de la connaissance, de la theorie. C'est un desespoir, i l s'agit la. J'ai dit qu' elle etait Calcutta, je la vois comme Calcutta. Elle devient Calcutta, i l y a un double glissement, Calcutta vers la forme d'Anne-Marie Stretter et elle va vers - 62 -la forme de Calcutta. Et pour moi a la fin du film elles ne font qu'un les Lieux,,p. The wandering of the beggar woman pulls the quest onto a universal level, where the tr a i l of deterioration and disorientation clearly signals the search in language, through language, for a deeper origin, one stripped, freed of a l l cultural fetters.

She chants, she babbles in a language foreign to the ears around her, she loses direction, she gradually sinks into her own movement, her own chant. Her "story" does i t mean anything 68 to her? II faut se perdre Le Vice-Consul, p. How can she not return to that cruel mother who has chased her away, for i t is for her she longs?

How does woman separate herself from that body which is so like her own body, how can she leave the mother? How can she do otherwise than follow in the steps of her, the one who is her model and her exact form? But she has been chased away, therefore: "II faut se perdre. Sa route, elle est sure, est celle de 1'abandon definitif de sa mere. Ses yeux pleurent, mais elle chante a tue-tete un chant - 63 -enfantin de Battambang Le Vice-Gonsul, p. Peter Morgan invents a fantastic journey for this waif of humanity which lasts ten years, beginning at "Savannakhet" and ending at Calcutta. Her story, when Peter Morgan talks about his book with the others near the end of Le Vice-Consul, clearly becomes a "mise en abime" for the language which is gradually emerging within the larger context of the novel: Elle marcherait, d i t - i l , j'insisterai surtout sur cela.

Elle, ce serait une marche tres longue, fragmentee en des centaines d'autres marches toutes animees du meme balancement — celui de son pas — elle marcherait, et la phrase avec elle, Le Vice-Gonsul, p. The circle she describes reflects, through an autobiographical link with the author's l i f e , the deeper quest for the female voice which these texts together reveal. This quest involves primarily repetition, the fate of Echo.

The following explanation is offered by Nancy Miller in an article on women's writing: To play with mimesis is. It is to re-submit herself It is also to unveil the fact that i f women mime so well they are not simply reabsorbed in this function. They also remain elsewhere. At times i t appears as the - 64 -unsettling image of the vacant tennis court — a steel-wire barrier en-closing nothing. This absence haunts us, from Detruire, dit-elle, where the occasional tennis ball is heard but the game never seen, to Le Vice- Consul and India Song where the court remains empty, its vacant presence joining other images of abandonment and emptiness such as the park and the deserted bicycle of Anne-Marie Stretter: Contre le grillage qui entourne les tennis deserts i l y a une bicyclette de femme qui appartient a Anne-Marie Stretter, I-S.

Elle est abandonnee, sans emploi, effrayante L-S. This "elsewhere" is associated with certain characters more specifically than with others. For instance, the vice-consul, a virgin at thirty-five, considered mad by the others for the irrational act of shooting at the lepers in the garden at Lahore, marked by an emotionally unstable childhood flawed by the death of his father, reflects a more "feminine" than "masculine" personality: —Cela signifie quelque chose, dit le vice-consul, les tennis etaient en effet deserts. Le directeur r i t. Pourquoi pas? The echoes grow, converge, merge, as the texts become more reduced, more abstract in the sense of refining the "substance"' rather than con-verting the substance into theory.

The wandering continues in L'Amour and La Femme du Gange, like ripples caused by a skipping stone on a s t i l l lake. It is a wandering which intertwines pasts: Loi V. The self-portrait leads us towards a time before the trauma of womanhood, with its loss of freedom, into the forest of childhood and the traumas buried below adult rationalizations, to the sea, to which the wandering inevitably leads: Les differents lieux de Loi V. Stein sont tous des lieux maritimes, c'est toujours au bord de la mer qu'elle est, et tres longtemps j'ai vu des villes tres blanches, comme 5a, blanchies par le sel, un peu comme si du sel etait dessus, sur les routes et les lieux ou se deplace Lola Valerie Stein.

To "re-member" is to create an integrated present with fragments from the past when for women, according to Beatrice Didier, a freedom suiting their creativity existed: Leur enfance, pourquoi y reviennent-elles toujours? Epoque heureuse ou elles se figurent un desir diffus, sans loi et sans entrave Elles evoluent dans le Paradis terrestre, en bonne entente avec l'Ange qui paradoxalement semble plus liberal pour la netite Eve que pour le jeune Adam. Peut-etre parce que le desir d'Eve est partout, incontrolable, insaisissable, moins presse que celui d'Adam de se concretiser dans un acte qui, en l'accomplissant, le limi-terait.

II me regardait. Je me suis rendormie.

Apostrophes: Marguerite Duras répond à Bernard Pivot - Archive INA

J'ai entendu qu'il disait que ses yeux le brulaient d'avoir regarde la beaute d'Aurelia Steiner. Que son bateau partait a midi mais qu'il ne serait pas a bord, que le bateau parti-rait sans l u i , qu'il desirait rester avec elle, Aurelia Steiner, quoi qu'il advienne de l u i. J'ai dit que je n'appartenais a personne de defini.


  1. Teaching Kids Authentic Worship: How to Keep Them Close to God for Life.
  2. Patchwork, Prayers and Corn Pudding;
  3. French Research Center in Humanities and Social Sciences – Prague!
  4. Francophone Cultures and Literatures;
  5. A Question of Yams.
  6. Delicious and Nutritious Low Calorie Lunches: Affordable and Quick Recipes for Weight Loss (The Low Calorie Cookbook Book 2);
  7. Que je n'etais pas libre de moi-meme. L'Amour Paris: Gallimard, Aurelia Steiner. Miroirs d'encre, p. Paris, juin , p. Bettina L Michele Montrelay. Marguerite Duras a Montreal, p. Paris: Editions de Minuit, Nathalie Granger, p. L'Ecriture-femme, p. Murray Stein, "Hera: bound and unbound," Spring. Marguerite Duras, "Mothers," Marguerite Duras, comp.

    Thirty, years later, this theme is taken up once again in L'Amant Paris: Gallimard, L'Ombre et le nom: sur la feminite, p. Stein," in Marguerite Duras, p. Territoires du feminin, p. The male narrator is a central theme for discussion in Part II. The predominance of the visual perspective leads to the priority of one view over another, that is, to a hierarchical structure within which only that is seen which is willed or wished to be seen.