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Souverainete et memoire de Sade a Du...

Lindenlaub, Claire-Antoinette Marcelle.

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Souverainete et memoire de Sade a Duras (French text, Marquis de Sade, Marguerite Duras, Georges Bataille, Samuel Beckett, Ireland).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Souverainete et memoire de Sade a Duras (French text, Marquis de Sade, Marguerite Duras, Georges Bataille, Samuel Beckett, Ireland)./
作者:	Lindenlaub, Claire-Antoinette Marcelle.
面頁冊數:	463 p.
附註:	Source: Dissertation Abstracts International, Volume: 53-11, Section: A, page: 3931.
Contained By:	Dissertation Abstracts International53-11A.
標題:	Literature, Romance. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9309409

Souverainete et memoire de Sade a Duras (French text, Marquis de Sade, Marguerite Duras, Georges Bataille, Samuel Beckett, Ireland).
Lindenlaub, Claire-Antoinette Marcelle.

Souverainete et memoire de Sade a Duras (French text, Marquis de Sade, Marguerite Duras, Georges Bataille, Samuel Beckett, Ireland). = Sovereignty and memory from Sade to Duras. - 463 p.

Source: Dissertation Abstracts International, Volume: 53-11, Section: A, page: 3931.

Thesis (Ph.D.)--Northwestern University, 1992.

A comparative study of the intensity of Eugenie de Franval and Ma Mere prompts a mnemonic approach of works linking self-consciousness with an unmastered power: sovereignty. Based upon Frances Yates' Art of Memory, this research proves that such pictorial qualities as dissociation, laughter, obscenity or beauty expand literary descriptions far beyond the text. By asserting the unruliness of imagination as a search for the spiritual, Eugenie indicates that Sade's visual images are a staged performance. The intensity of Ma Mere and of Pierre's guilt and debasement suggest the reader's hallucination by means of photographs in which his virtual sacrificial death is an initiation to sovereignty as a continuum. If for Sade and Bataille memory still holds a power of definition or corruption, Beckett and Duras emphasize its absence. With Beckett's Oh les beaux jours and Krapp's Last Tape, objects act as stimulus to uncover a world in which man is reified by his possessions. Called up by associations, recollections of the past demonstrate the memory for words based on a play with etymology. Duras' selection of places marks the event with a mnemonic form to remember the contents: her places are wide, deserted, organized, unusual, well lighted and understood. Her serices of aquatic places in Un Barrage contre le Pacifique endows her narrative with the non-selective visual process of cinema. The general and rhetorical inversion of these narratives mirrors the autobiographical interaction between the writer and his fiction. Sade's atheist sovereignty is a paroxysmic love for concepts, especially for the divine in everyone, as his reader becomes a narcissistic voyeur. Bataille's ethnologically grounded sovereignty criticizes Christianity while revealing a similar passion antagonistic to all utilitarian norms. In short, this author's reader becomes a sacrificial victim. In turning his reader into a mute egyptologist, Beckett shows the failure of sovereignty made into signs of silence. Finally, Duras defines sovereignty as an escape from places trapping her protagonist: her reader is a constant traveller who will go forward by forgetting. Thus, sovereignty constructs self-consciousness in autobiographies on the inversion of memory itself.Subjects--Topical Terms:

1019014
Literature, Romance.

Souverainete et memoire de Sade a Duras (French text, Marquis de Sade, Marguerite Duras, Georges Bataille, Samuel Beckett, Ireland).
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