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Les Mots : les échos du silence dans l’autobiographie de Jean-Paul Sartre
Get PDFThe sartrean autobiographical text The Words may be read as a testament that paradoxically establishes the silence through the excessive word. Sartre says when he does not utter, silences when he speaks and, through the dialectal articulation that he establishes between uttering and silencing, offers us a truly original autobiographical form
Les figures à l’épreuve du silence : cas de l’ellipse et de la litote dans l’œuvre de Georges Perec
No full textIn this article, we will analyze the figures of silence such as the “litote” and the syntactic ellipse in the works of Georges Perec in order to understand how they interact with the reader. Indeed, the unspoken create an invisible dialogue with the reader who must reconstruct a meaning from the void: the “litote” and the syntactic ellipse become the support of a writing that refuses to express itself in words. The writing of Georges Perec can only be read in a deviation of language which makes reluctance a unifying principl
Le silence en maux dans l’œuvre théâtrale de Samuel Beckett
Get PDFThe silence in Beckett’s plays can be interpreted in many different ways. It often shows the anxiety of the characters faced with the vacuity in their lives. Left to themselves, they hardly manage to let go during these recurring silences (marked in an obsessional way in Beckett’s texts with the word "pause" as an absolute punctuation in the theatrical language). So they really feel the silence as the "arising of nothingness ", a sort of gateway to finitude. This silence is also the one appearing among Beckettian couples to reveal the aporia in language: inability to communicate, "doing" instead of (impossible) "saying". This Beckettian "doing" is shown in a conspicuous gestuality which conveys a certain materiality to this silence as well as it tries desperately to fill it. Thus Beckett’s characters act and give silence some substance, incarnating therefore a full-fledged character. Finally, silence can also embody the religious, at least the expectation (of the divine? in Godot particularly?). This silence grows solemn and reveals a suspension in the speech and characters in search of a follow-up. Silence then becomes the opening of an area where everything is possible since nothing has been said yet, implicitly expressing fantasies of joy and salvation
Les aspects et les enjeux du silence dans Jacques le fataliste de Diderot
Get PDFThe novel presents a variety of writings of silence; but we limit ourselves, in the context of the present work, to the most relevant aspects, namely interruptions in narratives, narrative ellipses and point of suspension as the particular language of silence. These three modalities nevertheless serve a prolix discourse, and are innovate. Suddenly the novel exemplifies what contemporary literature calls the anti-novel
Le silence, mise à l’épreuve de la sincérité au théâtre (1802-1828)
Get PDFIn 19th century French very successful melodrama, discourse is seen as a powerful way to get attention. Criminals and traitors are masters of speech and seductive persuasion, but they never achieve their goals by the end of the play. On the other hand, the mute, humble and shy characters demonstrate that silence can convey values such as honesty, loyalty and show the audience that sensibility should be preferred to histrionic actor play
Entre dentelle et fragment : évolution de la tactique du vide rimbaldienne de la Saison aux Illuminations
Get PDF"A Season in Hell" and "Illuminations" both of these collections are considered as masterpieces of Rimbaud’s poetry. Whereas "A Season in Hell" is presented as his artistic testimony, "Illuminations", on the other hand, isconsidered by critics as an abstruse writing, an enigma. Acknowledging critical inheritance on this topic, as well as inherent differences of both collections, this article will show that a link could be found between these two works. This thread, which creates what we would like to call Rimbaud’s embrodery was created by himself through silence and words. That is this will of Rimbaud for these bothsworks and readers, that we will discuss here, a strategy that we have named : Tactic of Emptiness
Passerelles. Dialogues d’écrivains autour du silence
Get PDFThe article deals with the question of the relationship between silence and language among writers. It centers around two themes: first, the place of silence in human relations; second, the silence of the world, or, on the contrary, the voices that spring up from it. This article has a lot of writers debate upon these themes, some being rather perceptive to the positive qualities of the silence of the world and/or of their fellow men, others rather gloomy when seeing theim possibility of hearing the world, or of having more genuine relations with others
Un silence éloquent : narration et fantastique dans Fragoletta (1829) de Latouche et La Vénus d’Ille (1837) et Lokis (1869) de Mérimée
Get PDFThe paper analyses three works having employed a similar narrative strategy which triggers tension between the explicable and inexplicable and an interpretative crisis that allows a fantastic reading of the fictional text. This strategy is related to the paradoxical statute of the narrator due to which the reader is faced with an incomplete elliptic account because of the former’s reluctance (or impossibility) to offer a definite interpretation of the events
« Ils veulent conjurer le silence ». Ellipses et non-dits chez Andreï Makine
Get PDFThe concept of silence is at the core of the Andreï Makine’s writing. Thus, the aim of this article is to underline its manifold manifestations in the Franco-Russian author’s literary creation. The first part of the article argues that biographical gaps are constitutive of his author image (Amossy, 2009), sincehe is the only member of the French Academy whose biography is still largely unknown, while the second and third parts focus on the narrative and stylistic usages of silence in his novels, as well as on Makine’s philosophy of creation, namely the “theory of the triple birth” (Osmonde, 2011), partially described in his texts