Tracer sa voix
This book presents an innovative reading of the Marguerite Duras's work. It analyzes the cultural poetics at work in the four novels of the Indochinese cycle: A Sea Wall (French: Un barrage contre le Pacifique, 1950), Eden Cinema (1977), The Lover (French: L'Amant, Prix Goncourt 1984) and The Northe...
Furkejuvvon:
| Váldodahkki: | |
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| Materiálatiipa: | Online |
| Giella: | fránskkagiella |
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Editions de l'Université de Lorraine
2024
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| Fáttát: | |
| Liŋkkat: | https://directory.doabooks.org/handle/20.500.12854/146057 |
| Fáddágilkorat: |
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| Čoahkkáigeassu: | This book presents an innovative reading of the Marguerite Duras's work. It analyzes the cultural poetics at work in the four novels of the Indochinese cycle: A Sea Wall (French: Un barrage contre le Pacifique, 1950), Eden Cinema (1977), The Lover (French: L'Amant, Prix Goncourt 1984) and The Northern China Lover (French: L'Amant de la Chine du Nord, 1991) which follow a narrative thread inspired by the childhood of Marguerite Duras, marked by the reminiscence of the same themes and motifs. By crossing the anthropology of the symbolic and the poetics of texts, Savannah Kocevar questions the expression of a plural culture, highlights a preeminent link between the rite (of passage) and the Durassian story and reads the trajectories of the characters, in particular that of the "young girl", through this original yardstick. Furthermore, this book shows that these initiatory issues concern the narrator as a fictional projection of the author and that the relationship between, on the one hand, orality and the body, and, on the other hand, written culture, constitutes a major key to Durassian work and allows us to take a new look not only at this work but also, more broadly, at the creative processes, particularly in women. |
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