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oeuvres:la_honte [2015/05/14 15:21] Virginie Savardoeuvres:la_honte [2015/05/18 08:36] Audrey Thériault
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 [[auteurs:Annie Ernaux]] - Paris, Gallimard (Blanche), 1997, 144 p. [[auteurs:Annie Ernaux]] - Paris, Gallimard (Blanche), 1997, 144 p.
  
-« "J'ai toujours eu envie d'écrire des livres dont il me soit ensuite impossible de parler, qui rendent le regard d'autrui insoutenable. Mais quelle honte pourrait m'apporter l'écriture d'un livre qui soit à la hauteur de ce que j'ai éprouvé dans ma douzième année."+« "J'ai toujours eu envie d'écrire des livres dont il me soit ensuite impossible de parler, qui rendent le regard d'autrui insoutenable. Mais quelle honte pourrait m'apporter l'écriture d'un livre qui soit à la hauteur de ce que j'ai éprouvé dans ma douzième année." (quatrième de couverture)
 Annie Ernaux. » Annie Ernaux. »
  
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 ###« This thesis is a study of the father-daughter relationship and how it is bound to the issue of feminine subjectivity and writing. The main aim of the study is to examine the complexities of the father-daughter relationship in order to demonstrate how it is represented in certain contemporary women writer's work as a means of dissenting from the organization of sexual difference, as a means of questioning the paternal function. Through close textual analysis of selected works by Hélène Cixous, Marie Redonnet and Annie Ernaux, the dissertation examines how the paternal figure is implicated in the daughter / heroine's coming of age as a woman in their texts. The textual analyses concentrate on how a hysteric structure is staged in each writer's work, a structure that is read as the articulation of dissent from woman's place in the social order. ###« This thesis is a study of the father-daughter relationship and how it is bound to the issue of feminine subjectivity and writing. The main aim of the study is to examine the complexities of the father-daughter relationship in order to demonstrate how it is represented in certain contemporary women writer's work as a means of dissenting from the organization of sexual difference, as a means of questioning the paternal function. Through close textual analysis of selected works by Hélène Cixous, Marie Redonnet and Annie Ernaux, the dissertation examines how the paternal figure is implicated in the daughter / heroine's coming of age as a woman in their texts. The textual analyses concentrate on how a hysteric structure is staged in each writer's work, a structure that is read as the articulation of dissent from woman's place in the social order.
  
-The work begins with an introduction to the problem and to the key psychoanalytical concepts that will be used. In Chapter 2, Hélène Cixous's //Dedans// (1969) and //Or : les lettres de mon père// (1997) are studied. Cixous's work presents the father as the ultimate object of desire and stages the relationship to the father as the basis for her writing. Chapter 3 takes up the work of Annie Ernaux, concentrating on //La Place// (1983) and //La Honte// (1997), where a portrait of the father as a humiliated figure is developed. The attachment and identification with the father are analyzed to show how the hysteric structure supports the author's critique of gender and class. A discussion of Marie Redonnet's trilogy– //Splendid Hôtel// (1986), //Forever Valley// (1987), and //Rose, Mélie, Rose// (1987)–constitutes the fourth chapter. The three heroines' attempts at creating a work of sublimation are progressively investigated while regarding the role of the father. The textual analyses trace out each author's problematizing of women's subjectivity and discuss how the question of writing as a woman is addressed in the works. »+The work begins with an introduction to the problem and to the key psychoanalytical concepts that will be used. In Chapter 2, Hélène Cixous's //Dedans// (1969) and //Or : les lettres de mon père// (1997) are studied. Cixous's work presents the father as the ultimate object of desire and stages the relationship to the father as the basis for her writing. Chapter 3 takes up the work of Annie Ernaux, concentrating on //La Place// (1983) and //La Honte// (1997), where a portrait of the father as a humiliated figure is developed. The attachment and identification with the father are analyzed to show how the hysteric structure supports the author's critique of gender and class. A discussion of Marie Redonnet's trilogy– //Splendid Hôtel// (1986), //Forever Valley// (1987), and //Rose, Mélie, Rose// (1987)–constitutes the fourth chapter. The three heroines' attempts at creating a work of sublimation are progressively investigated while regarding the role of the father. The textual analyses trace out each author's problematizing of women's subjectivity and discuss how the question of writing as a woman is addressed in the works. » (résumé joint à la thèse)
  
 //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de [[http://www.proquest.com|UMI - Proquest]].// //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de [[http://www.proquest.com|UMI - Proquest]].//
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 WILLGING, Jennifer J., « The Desire to Tell and the Anxiety of Telling : A Study of Narrative Production in Marguerite Duras, Annie Ernaux and Nathalie Sarraute », thèse de doctorat, Department of French and Italian, Northwestern University, 2000, 234 f. +++ Thèse de doctorat / mémoire de maîtrise WILLGING, Jennifer J., « The Desire to Tell and the Anxiety of Telling : A Study of Narrative Production in Marguerite Duras, Annie Ernaux and Nathalie Sarraute », thèse de doctorat, Department of French and Italian, Northwestern University, 2000, 234 f. +++ Thèse de doctorat / mémoire de maîtrise
  
-###« The desire to tell a story and the anxiety that sometimes accompanies such telling are forces that leave their trace in the narrative text. In this dissertation, I look for such traces in four twentieth-century narratives written in French : Marguerite Duras's //Madame Dodin// (//Des journées entières dans les arbres//, 1954) and //Monsieur X// (//La douleur//, 1985), Annie Ernaux's //La honte//(1991) and Nathalie Sarraute's //Entre la vie et la mort// (1968). My objective is to untangle the two forces in each text, describe how they have affected the construction of the narrative, and determine to what extent, if any, the act of narrating, the movement they propel, quells them.+###« The desire to tell a story and the anxiety that sometimes accompanies such telling are forces that leave their trace in the narrative text. In this dissertation, I look for such traces in four twentieth-century narratives written in French : Marguerite Duras's //Madame Dodin// (//Des journées entières dans les arbres//, 1954) and //Monsieur X// (//La douleur//, 1985), Annie Ernaux's //La honte// (1991) and Nathalie Sarraute's //Entre la vie et la mort// (1968). My objective is to untangle the two forces in each text, describe how they have affected the construction of the narrative, and determine to what extent, if any, the act of narrating, the movement they propel, quells them.
  
 Different kinds of desires and anxieties permeate each text. In //Madame Dodin//, the narrator wishes to be an advocate, through narrative, for her contentious but fascinating concierge, but resistance from her fellow tenants as well as from Mme Dodin incites in her an anxiety of authorship that inhibits her narration. In both //Monsieur X// and //La honte//, the narrator's principal desire is to reconstruct in narrative a traumatic experience, thereby giving order and sense to the memories that torment her. In //Entre la vie et la mort//, the narrator vacillates between two desires, one to produce literature that reveals a hidden reality and a more mundane wish to attain critical success. His most salient anxiety is that the work he produces will be "dead" and so will never procure for him either of the prizes he covets. Different kinds of desires and anxieties permeate each text. In //Madame Dodin//, the narrator wishes to be an advocate, through narrative, for her contentious but fascinating concierge, but resistance from her fellow tenants as well as from Mme Dodin incites in her an anxiety of authorship that inhibits her narration. In both //Monsieur X// and //La honte//, the narrator's principal desire is to reconstruct in narrative a traumatic experience, thereby giving order and sense to the memories that torment her. In //Entre la vie et la mort//, the narrator vacillates between two desires, one to produce literature that reveals a hidden reality and a more mundane wish to attain critical success. His most salient anxiety is that the work he produces will be "dead" and so will never procure for him either of the prizes he covets.

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