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oeuvres:pascal_quignard_-_ensemble_de_l_œuvre [2016/05/03 12:03]
Virginie Savard
oeuvres:pascal_quignard_-_ensemble_de_l_œuvre [2017/03/22 08:21]
Virginie Savard Modified from the form at oeuvres:pascal_quignard_-_ensemble_de_l_œuvre
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 This thesis investigates how writing, mourning, and individuation form a singly dynamic process. If loss elicits a shattered sense of self, the thesis explores how, paradoxically,​ mourning also brings about a heightened sense of self, what Barthes called //la crime du particulier//​.\\ This thesis investigates how writing, mourning, and individuation form a singly dynamic process. If loss elicits a shattered sense of self, the thesis explores how, paradoxically,​ mourning also brings about a heightened sense of self, what Barthes called //la crime du particulier//​.\\
 Secondly, contemporary texts of mourning transform certain functions of the elegy. As a coded genre, it sought closure by giving a symbolic meaning to those mourned and by maintaining an imaginative dialogue with them. In contemporary texts, the encounter between mourner and mourned becomes internalised,​ hosting, ghosting, incarnation,​ trans-substantiation,​ or identification providing metaphors for this communion. Freud made melancholia a pathological form of mourning, with the mourner unable to attain closure. Instead, contemporary texts construe melancholia as a special vigilance of memory. It becomes an ethical form of mourning tinted with joy. Finally, this thesis foregrounds a paradigmatic shift in the consolations of writing. The consoling efficacy of the traditional elegy was premised on the belief that giving a symbolic meaning to the dead ensured them an afterlife. The contemporary literature of mourning discussed here has instead become a locus of communion with the dead, organizing the transmission of their legacy. ### Secondly, contemporary texts of mourning transform certain functions of the elegy. As a coded genre, it sought closure by giving a symbolic meaning to those mourned and by maintaining an imaginative dialogue with them. In contemporary texts, the encounter between mourner and mourned becomes internalised,​ hosting, ghosting, incarnation,​ trans-substantiation,​ or identification providing metaphors for this communion. Freud made melancholia a pathological form of mourning, with the mourner unable to attain closure. Instead, contemporary texts construe melancholia as a special vigilance of memory. It becomes an ethical form of mourning tinted with joy. Finally, this thesis foregrounds a paradigmatic shift in the consolations of writing. The consoling efficacy of the traditional elegy was premised on the belief that giving a symbolic meaning to the dead ensured them an afterlife. The contemporary literature of mourning discussed here has instead become a locus of communion with the dead, organizing the transmission of their legacy. ###
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 +ZHUO, Yue, « Le monde romain est notre mélancolie : L’objet perdu de Pascal Quignard », //French Forum//, vol. 41, n° 1-2 (été-automne 2016), p. 127-140. +++ Article de revue
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 +### **Extrait (p. 128)**\\
 +Le monde romain chez Quignard est ainsi un monde sentimental,​ pis, mélancolique. Il s’oppose frontalement à la pensée spéculative des Grecs d’Athènes. Son érotisme s’éloigne de la sensualité joyeuse de ces derniers, marqué par un regard effrayé et une tristesse infinie. Mais c’est surtout un monde où l’oubli ressuscite la mémoire, où le vrai se mélange avec le faux, où l’érudition s’imbrique discrètement dans l’autobiographique. Dans la plupart des écrits qui évoquent l’antiquité romaine, Quignard conduit ses personnages vers une frontière où ils doivent succomber au silence et à l’amnésie. Ses héros subissent presque tous une défaillance de la parole et une perte de mémoire. ​
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 +[[https://​muse.jhu.edu/​article/​647864|Zhuo,​ 2016, PDF]] ###
  
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