| Les deux révisions précédentesRévision précédenteProchaine révision | Révision précédente |
| oeuvres:la_femme_gelee [2015/05/04 11:00] – Audrey Thériault | oeuvres:la_femme_gelee [2015/05/04 11:16] (Version actuelle) – Audrey Thériault |
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| SHELDON-DOUCET, Jennifer, « À la recherche du “Je” : Subjectivity, Memory and the Economy of Writing in the Fiction of Annie Ernaux », thèse de doctorat, Department of French Language and Literature, University of Virginia, 1999, 451 f. +++ Thèse de doctorat / mémoire de maîtrise | SHELDON-DOUCET, Jennifer, « À la recherche du “Je” : Subjectivity, Memory and the Economy of Writing in the Fiction of Annie Ernaux », thèse de doctorat, Department of French Language and Literature, University of Virginia, 1999, 451 f. +++ Thèse de doctorat / mémoire de maîtrise |
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| ###« This dissertation is a study of the fiction of contemporary French writer Annie Ernaux. Drawing on Althusser's theory of ideology, Pierre Nora's //lieu de mémoire//concept, and contemporary psychoanalytic theory, my dissertation focuses on the construction of subjectivity as presented in Ernaux's autobiographical fiction. Born to working-class parents, Ernaux received a university education which allowed her to become a member of France's intellectual elite. An unforeseen consequence of her education is the profound sense of alienation that Ernaux refers to as //la déchirure//. I compare Ernaux's project to that of Marcel Proust. Proust's decision to write his life story comes at the end of //À la recherche du temps perdu//. Upon his return to Paris after a long absence, Marcel trips on a cobblestone and suddenly feels the urge to write his life story. Heinz Kohut characterizes Proust's project as an "attempt to reestablish a continuity within himself". Similarly, Ernaux's autobiographical fiction is an attempt to repair //la déchirure//. Ernaux's first three novels describe the alienation process, what I call "(de)constructing the self". Her subsequent works can be seen as an attempt to reestablish a continuity within herself, what I call "(re)appropriating the self". Because of the important role played by metatextual reflections, Ernaux's texts can be seen as //recherches de style//. The metatextual passages emphasize the reciprocal relationship between form and content. Derrida's model of //la scène de l'écriture// is useful for describing the dynamics of this relationship. The metatextual exploration of the tension between //toujours// and //un jour// in //Passion simple// represents a turning point in the concept of subjectivity expressed in Ernaux's fiction. Ernaux moves from a two-dimensional model of subjectivity "that of malaise-generating contradiction" to a three-dimensional model that acknowledges rather than covers over the Lacanian split subject. Ernaux initially rejects the unified subject but is unable to posit an alternative, as symbolized by the effacement of the narrator's body, at the end of //La femme gelée//. In //Passion simple//, the "subject" returns in the manner described by Roland Barthes in //The Pleasure of the Text//: not as illusion, but as fiction. » | ###« This dissertation is a study of the fiction of contemporary French writer Annie Ernaux. Drawing on Althusser's theory of ideology, Pierre Nora's //lieu de mémoire// concept, and contemporary psychoanalytic theory, my dissertation focuses on the construction of subjectivity as presented in Ernaux's autobiographical fiction. Born to working-class parents, Ernaux received a university education which allowed her to become a member of France's intellectual elite. An unforeseen consequence of her education is the profound sense of alienation that Ernaux refers to as //la déchirure//. I compare Ernaux's project to that of Marcel Proust. Proust's decision to write his life story comes at the end of //À la recherche du temps perdu//. Upon his return to Paris after a long absence, Marcel trips on a cobblestone and suddenly feels the urge to write his life story. Heinz Kohut characterizes Proust's project as an "attempt to reestablish a continuity within himself". Similarly, Ernaux's autobiographical fiction is an attempt to repair //la déchirure//. Ernaux's first three novels describe the alienation process, what I call "(de)constructing the self". Her subsequent works can be seen as an attempt to reestablish a continuity within herself, what I call "(re)appropriating the self". Because of the important role played by metatextual reflections, Ernaux's texts can be seen as //recherches de style//. The metatextual passages emphasize the reciprocal relationship between form and content. Derrida's model of //la scène de l'écriture// is useful for describing the dynamics of this relationship. The metatextual exploration of the tension between //toujours// and //un jour// in //Passion simple// represents a turning point in the concept of subjectivity expressed in Ernaux's fiction. Ernaux moves from a two-dimensional model of subjectivity "that of malaise-generating contradiction" to a three-dimensional model that acknowledges rather than covers over the Lacanian split subject. Ernaux initially rejects the unified subject but is unable to posit an alternative, as symbolized by the effacement of the narrator's body, at the end of //La femme gelée//. In //Passion simple//, the "subject" returns in the manner described by Roland Barthes in //The Pleasure of the Text//: not as illusion, but as fiction. » |
| (Résumé joint à la thèse) | (Résumé joint à la thèse) |
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| VILAIN, Philippe, « Le sexe et la honte dans l’oeuvre d’Annie Ernaux », dans //Roman 20-50//, no 24 (décembre 1997), p. 149-164. +++ Article de revue | VILAIN, Philippe, « Le sexe et la honte dans l’oeuvre d’Annie Ernaux », dans //Roman 20-50//, no 24 (décembre 1997), p. 149-164. +++ Article de revue |
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| | ###« Prolongeant l’entretien avec Annie Ernaux, cette étude essaye de mettre en évidence le lien entre la manière dont la sexualité est abordée chez l’auteur et les contraintes sociales. La censure familiale, religieuse et sociale qui se met en place à propos de la sexualité transparaît dans la manière indicible d’aborder le sujet ou de le transférer, sous couvert de la métaphore par exemple. C’est ainsi que s’exprime la honte sociale. » (résumé joint à l’article)### |
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| HOWELL, Victoria Clare, « Disordered Subjects : Narratives of "becoming" in Contemporary Anglo-American and French Feminist Theory and Women's Fiction », thèse de doctorat, Centre for Women's Studies, The University of York (United Kingdom), 2005, 200 f. +++ Thèse de doctorat / mémoire de maîtrise | HOWELL, Victoria Clare, « Disordered Subjects : Narratives of "becoming" in Contemporary Anglo-American and French Feminist Theory and Women's Fiction », thèse de doctorat, Centre for Women's Studies, The University of York (United Kingdom), 2005, 200 f. +++ Thèse de doctorat / mémoire de maîtrise |