36 research outputs found
L’avenir de l’avant-garde sans avenir : de Pinget à Toussaint
No full textRobbe-Grillet disait de Robert Pinget qu’il représentait déjà l’avenir du Nouveau Roman (le qualifiant de Nouveau Nouveau romancier). Or, Pinget lui-même n’a jamais participé qu’avec beaucoup de distance au mouvement et n’a jamais produit de discours théorique. Par contre, l’on trouve au fil de ses œuvres la construction d’un imaginaire de l’avant-garde (qui nomme d’ailleurs le Nouveau Roman et les éditions de Minuit qui l’abritent). Cet imaginaire est profondément négatif (quoique très cocasse), puisque Pinget y stigmatise la question du progrès artistique et l’ennui inqualifiable qui émane des théorisations sur le sujet. Pis, il qualifie, dans ses derniers entretiens (1993), la notion de postmoderne d’absurdité.
Pourtant, Robbe-Grillet avait sans doute raison, puisque la génération de Minuit (tant Échenoz qu’Oster, Gailly ou Toussaint) qui a suivi s’est bien davantage inspirée de Pinget que des autres nouveaux romanciers.
Il s’agira donc dans cette communication d’explorer d’une part l’imaginaire de l’avant-garde de l’écrivain suisse et d’en dégager une certaine vision négative du temps et de l’art du temps pour ensuite la confronter à la génération suivante par le biais de l’exemple de Toussaint qui – même s’il nomme plus volontiers Beckett ou Robbe-Grillet – inscrit son imaginaire du temps dans la continuité de celle de Pinget, dessinant l’avenir immédiat dans les traces du passé. Il s’agira de conclure sur une dimension peu explorée du postmoderne : le fait qu’il s’annonce comme sans avenir
La presencia de la materia epistolar en la obra de Robert Pinget. Irrealización y desaparición de la misiva en Le Fiston y Lettre morte
No full textThe present article aims to analyse the presence of the epistolary material in the work of Robert Pinget. Essential author of the French New Novel, the writer instrumented the letter device in favor of the rupture practices of this literary renewal, in order to convey the expression of subjectivity. In the field of theatrical experimentation, Pinget converts the epistolary absence into a tool for a new theatre of the voice. The analysis of the narrative-theatrical diptych Le Fiston and Lettre morte (1959) will allow us to show how the letter is made problematic to become an unrealizable experience, both complicating the literary enunciation and destroying the classical theatrical representation.
Cet article vise à analyser la présence de la matière épistolaire dans l'œuvre de Robert Pinget. Auteur essentiel du Nouveau Roman, l'écrivain a instrumentalisé le dispositif de la lettre en faveur des pratiques de rupture de cette renovation littéraire, afin de véhiculer l'expression de la subjectivité. Dans le domaine de l'expérimentation théâtrale, Pinget transforme l’absence épistolaire en outil d’un nouveau théâtre de la voix. L'analyse du dyptique narratif-théâtral Le Fiston et Lette morte (1959) nous permettra de montrer comment la lettre est problématisée pour devenir une pratique irreálisable qui complexifie l'énonciation littéraire et qui détruit la représentation théâtrale classique
Repetition in the works of Robert Pinget : pattern and lack
No full textLa répétition, matrice essentielle de l’écriture de Robert Pinget, en informe tous les enjeux. Les reprises sous-tendent l’écriture et en font un lieu aporétique : entre désir de mimèsis et impossible figuration, cohésion textuelle et déstructuration narrative, reconstitution authentique de la parole et avancée tâtonnante, écriture romanesque et oralité toute théâtrale, foisonnement baroque et épure poétique. Ce retour linguistique de la répétition se fait chemin vers un retour mémoriel. Anamnèse qui s’avère impossible et à laquelle se substitue une complexe remontée vers le roman des origines familiales où la fable et la fiction prennent la place des souvenirs réels. Aucune restauration mémorielle n’étant possible dans le monde pingétien, les œuvres signent l’échec des mémoires familiale, historique et patrimoniale dans un monde où seules demeurent des histoires retranscrites dans des manuscrits qui les perpétuent – mémoire textuelle essentiellement. Dans ce travail mémoriel, qui se veut avant tout scriptural, émerge une figure essentielle bien que marginale au sein de l’œuvre de Robert Pinget : l’écrivain. En charge d’une œuvre fondamentalement inachevée, ce dernier est un être singulier qui hante les marges des textes et du monde. L’écrivain pingétien, en véritable anachorète, s’astreint à une difficile ascèse scripturale pour accéder au texte pur, lieu d’une parole vraie et authentique. Dans cette posture littéraire tout autant que morale peut se lire le parcours même de l’auteur Robert Pinget qui n’a eu de cesse d’occuper une place marginale au sein du champ littéraire de son époque, à la fois proche et en retrait du Nouveau Roman et du Nouveau nouveau roman.Repetition, a founding pattern of Robert Pinget's writing, affects all its aspects. Repetitions underlie the writing, making it aporetical – between desire of mimesis and impossible representation, textual cohesion and narrative destructuration, authentic reproduction of speech and hesitant progression, novelistic writing and utterly dramatic orality, baroque profusion and poetic refining. This linguistic recurrence of repetition becomes the way back into memory all the characters are looking for. An anamnesis which turns out to be impossible and is replaced by a slow and complex return to the novel of family origins, in which fable and fiction substitute themselves for real memories. No restoration of memory being possible in Pinget's world, his works bear witness to the failure of family, historical and patrimonial memories in a world where the only stories left live on in manuscripts which retranscribe them – i.e. mostly textual memory. From this work on memory, which first of all aims at focusing on the writing, an essential figure – marginal as it may be in Robert Pinget's works – stands out : the writer. Responsible for basically uncompleted works, this one is a singular being haunting the margins of both the text and the world. The pingetian writer, a true anchorite, compels himself to a difficult asceticism of writing to reach pure text, and thus a true and authentic speech. Through this literary as well as moral position we can glimpse the very path followed by author Robert Pinget, who constantly endeavoured to play a marginal part in the literary world of his times, both close and standing back from the « Nouveau Roman » and the « Nouveau nouveau roman »
La répétition dans l'œuvre de Robert Pinget (le système et le manque)
No full textLa répétition, matrice essentielle de l écriture de Robert Pinget, en informe tous les enjeux. Les reprises sous-tendent l écriture et en font un lieu aporétique : entre désir de mimèsis et impossible figuration, cohésion textuelle et déstructuration narrative, reconstitution authentique de la parole et avancée tâtonnante, écriture romanesque et oralité toute théâtrale, foisonnement baroque et épure poétique. Ce retour linguistique de la répétition se fait chemin vers un retour mémoriel. Anamnèse qui s avère impossible et à laquelle se substitue une complexe remontée vers le roman des origines familiales où la fable et la fiction prennent la place des souvenirs réels. Aucune restauration mémorielle n étant possible dans le monde pingétien, les œuvres signent l échec des mémoires familiale, historique et patrimoniale dans un monde où seules demeurent des histoires retranscrites dans des manuscrits qui les perpétuent mémoire textuelle essentiellement. Dans ce travail mémoriel, qui se veut avant tout scriptural, émerge une figure essentielle bien que marginale au sein de l œuvre de Robert Pinget : l écrivain. En charge d une œuvre fondamentalement inachevée, ce dernier est un être singulier qui hante les marges des textes et du monde. L écrivain pingétien, en véritable anachorète, s astreint à une difficile ascèse scripturale pour accéder au texte pur, lieu d une parole vraie et authentique. Dans cette posture littéraire tout autant que morale peut se lire le parcours même de l auteur Robert Pinget qui n a eu de cesse d occuper une place marginale au sein du champ littéraire de son époque, à la fois proche et en retrait du Nouveau Roman et du Nouveau nouveau roman.Repetition, a founding pattern of Robert Pinget's writing, affects all its aspects. Repetitions underlie the writing, making it aporetical between desire of mimesis and impossible representation, textual cohesion and narrative destructuration, authentic reproduction of speech and hesitant progression, novelistic writing and utterly dramatic orality, baroque profusion and poetic refining. This linguistic recurrence of repetition becomes the way back into memory all the characters are looking for. An anamnesis which turns out to be impossible and is replaced by a slow and complex return to the novel of family origins, in which fable and fiction substitute themselves for real memories. No restoration of memory being possible in Pinget's world, his works bear witness to the failure of family, historical and patrimonial memories in a world where the only stories left live on in manuscripts which retranscribe them i.e. mostly textual memory. From this work on memory, which first of all aims at focusing on the writing, an essential figure marginal as it may be in Robert Pinget's works stands out : the writer. Responsible for basically uncompleted works, this one is a singular being haunting the margins of both the text and the world. The pingetian writer, a true anchorite, compels himself to a difficult asceticism of writing to reach pure text, and thus a true and authentic speech. Through this literary as well as moral position we can glimpse the very path followed by author Robert Pinget, who constantly endeavoured to play a marginal part in the literary world of his times, both close and standing back from the Nouveau Roman and the Nouveau nouveau roman .PARIS4-Bib. électronique (751059905) / SudocSudocFranceF
The Literature of the Romandie: Switzerland\u27s Wild West
No full textGeneva\u27s best-known writer lives in France. French Switzerland\u27s best known woman writer lives in Neuchatel, but she is Hungarian. And to close the triangle - Switzerland\u27s most successful writer in Paris last year is by no means a French Swiss but a German-speaking Parisian of choice. As regards the first author, the Genevan writer living in France, I\u27m talking about Robert Pinget; as regards the second author, the Hungarian living in Neuch~el, about Agota Kristof; and in the third instance, the Parisian by choice, about Paul Nizon. Before focusing on the two writers of today\u27s talk--Pinget and Kristof--I\u27d like to make a few observations on Switzerland\u27s four languages. This will allow me to explain why, of all French Swiss writers, I have picked two who deviate from the norm, if such a thing exists at all
VP46 Cost Analysis Of Popliteal Aneurysm Management
No full textINTRODUCTION:Popliteal artery aneurysm (PAA) is the most common peripheral arterial aneurysm and the second most common aneurysm after abdominal aortic aneurysm (AAA). It presents a risk of occlusion, which may lead to acute ischemia and leg amputation. To prevent these risks, asymptomatic PAA >2cm and symptomatic PAA must be treated. Although open PPA repair (OPAR) is still the gold standard, endovascular PAA repair (EPAR) is increasingly used to manage PAA. The objective of this study is to compare the cost of these two medical procedures from the hospital perspective.METHODS:Data were retrieved from the administrative database of Lausanne University Hospital (CHUV – Switzerland). Based on diagnostic codes and medical procedure codes, we selected all patients who underwent OPAR or EPAR between 2011 and 2015. Patient's age, length of stay and cost were compared between both groups using Student t-test.RESULTS:We included seventy-three patient stays (OPAR forty and EPAR thirty-three). Gender balance was identical between groups (97 percent of male), but age was statistically significantly different (OPAR 67.5, EPAR 73, p = .04). EPAR induced shorter mean length of stay (5.1 days versus 11.7 days, p = .0000) and lower mean global cost (CHF 16,555 versus CHF23,514, p = .0085). Cost of procedure amounted to CHF 9,536 for OPAR versus CHF 3,848 for EPAR, medical supply and implants amounted to CHF 1,284 for OPAR versus CHF 7,041 for EPAR and other costs of hospital stay amounted to CHF 12,694 for OPAR versus CHF 5,666 for EPAR. (CHF 1.00 = USD1.00 = EURO 0.93)CONCLUSIONS:With higher patency rate, OPAR is still associated with better medical outcomes than EPAR. But EPAR is significantly less costly than OPAR. Implant cost of EPAR is more than offset by longer length of stay and operating time of OPAR.</jats:sec
Ação alegórica em Esperando Godot: um jogo musical
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2013.Busca-se lançar um olhar sobre a ação de Esperando Godot e trazê-la à cena por um viés musical. Este trabalho é realizado a partir de dois movimentos: um "teórico" e outro "prático". No primeiro movimento, parte-se da contextualização da obra de Beckett naquilo que se convencionou chamar de "a crise do drama". Godot, como se sabe, rompe com elementos do chamado teatro tradicional e, dentre eles, o conceito de ação. Um caminho é uma volta às estéticas de Aristóteles e Hegel na tentativa de compreender uma noção de ação simbólica que seria contraponto à ação de Godot. Para tal discussão, a argumentação vale-se das reflexões de Benjamin, momento em que se encontra a distinção entre o conceito de símbolo e alegoria. Assim, a tentativa foi aproximar o conceito de alegoria a Godot. Ao estudar tal conceito, percebe-se também uma possibilidade de relacionar alegoria e jogo. Percurso que, primeiro, busca apontar dois modos de compreender o jogo na obra de Beckett. O primeiro relacionando-se à compreensão de representação, e o segundo à possibilidade da criação cênica. O segundo passo do percurso, então, é buscar relacionar jogo e música. Para tal tarefa, busca-se compreender a dimensão musical na obra de Beckett. Depois, com alguns elementos da música em mãos a tentativa é realizar leituras da obra, apontando a presença desses elementos musicais nela. Quando a discussão digire-se à encenação, dois elementos musicais se tornam fundamentais: harmonia e ritmo, dentre outros secundários. Para por em jogo a Godot, realiza-se duas partituras: uma de texto e outra de cena. A primeira joga com as ações fragmentadas da obra para arranjar uma partitura de texto. Na segunda, ao colocar em jogo a primeira partitura, busca-se a construção cênica das ações fragmentadas. Na passagem do texto à cena, a tentativa é trazer elementos da música para construir as cenas, dentre eles, a noção de acorde do jazz. Relaciona-se assim improviso a partir de acordes musicais. Tendo essa proposta em vista, parte-se às encenações. Apresentam-se assim quatro encenações: Didi e Gogo: mais um dia; Godot em dias felizes e Quatro variações de Godot, e Godot. As encenações estão disponíveis em DVD. O passo seguinte é a justificativa das escolhas realizadas nas encenações, momento em que se traz ao corpo do texto a apresentação dos trabalhos realizados com os atores nos trabalhos cênicos. Abstract : To analyze the action of "Esperando a Godot" it is expected and also staged from a musical perspective. This work was made starting from two movements: one theoretical and another practical. In the first movement we start from the contextualization of the Beckett work, that was called "a crise do drama". Godot, as we know, breaks with the elements of traditional theatre and because of this also the action concept. For that reason is necessary to observe the two aeasthetics of Aristóteles and Hegel with the attempt of understand the idea of the symbolic action wich will be the counterpoint to the Godot action. For such discussion, the argumentation is valid itself for the Benjamin`s reflections, when its found the distinction between the symbol concept and the allegory. In that way, the attempt was to approximate the allegoric concept to the Godot aesthetic. On having studied the allegoric concept, there was perceived also the possibility of relating allegory and game. This study try to search two ways of understandings the game in the Beckett play. The first one, relating to the comprehension of representation and the second one to the possibility of the scenic creation. The second step of the study relates game and music. For such task, we need to understand the musical dimension in the Beckett work. After that, with some musical elements the attempt is to realize readings of the play, indicating the presence of these musical elements. When the discussion turns into the staging, two musical elements become fundamentals: harmony and rhythm, between other secondaries. Then, to bring into the play to Godot, it`s divided in two processes: a score of text and other one of scene. The first one, to play with the fragmented actions of the work to arrange a score of texts. The second one, on having placed in game the first score, to look for the construction of scenes. For this second process, which involves directly the staging work, the attempt is to search in the notion the jazz chords to realize this passage. In that way, improvisations are related from musical chords. Having this proposal, it is begun from the staging. In that way, four stagings are presented : Didi e Gogo: mais um dia; Godot em dias felizes, Quatro variações de Godot and Godot. The staging are available in DVD. The following step is the justificative of the choices realized in every staging, moment in which the presentation of the works made with the actors are shown in the text
Citizensʼ Preferences for Brand Name Drugs for Treating Acute and Chronic Conditions
No full textBackground: Generic drugs have been advocated to decrease the proportion of healthcare costs devoted to drugs, but are still underused. Objective: To assess citizens' preferences for brand name drugs (BNDs) compared with generic drugs for treating acute and chronic conditions. Methods: A questionnaire with eight hypothetical scenarios describing four acute and four chronic conditions was developed, with willingness to pay (WTP) determined using a payment card system randomized to ascending (AO) or descending order (DO) of prices. The questionnaire was distributed with an explanation sheet, an informed consent form and a pre-stamped envelope over a period of 3 weeks in 19 community pharmacies in Lausanne, Switzerland. The questionnaire was distributed to every third customer who also had health insurance, understood French and was aged =16 years (up to a maximum of ten customers per day and 100 per pharmacy). The main outcome measure was preferences assessed by WTP for BNDs as compared with generics, and impact of participants' characteristics on WTP. Results: Of the 1800 questionnaires, 991 were distributed and 393 returned (pharmacy participation rate?=?55%, subject participation rate?=?40%, overall response rate?=?22%); 51.7% were AO and 48.3% DO. Participants were predominantly women (62.6%) and of median age 62 years (range 16-90). The majority (70%) declared no WTP for BNDs as compared with generics. WTP was higher in people with an acute disease than in those with a chronic disease, did not depend on the type of chronic disease, and was higher in people from countries other than Switzerland. Conclusions: Most citizens visiting pharmacies attribute no added value to BNDs as compared with generics, although some citizen characteristics affected WTP. These results could be of interest to several categories of decision makers within the healthcare system
Un style prophétique. D'un imaginaire présidant à l'histoire des Éditions de Minuit
No full textDepuis leur création, les auteurs des éditions de Minuit, implicitement ou explicitement, cherchent à se positionner dans le flux d’une avant-garde perpétuelle. Comment cependant maintenir ce flux, sinon en adoptant une posture qui se veuille prophétique ? Or, l’on sait, depuis les travaux de Jérôme Meizoz, que la posture se déploie de conserve dans les paratextes et dans les textes littéraires stricto sensu, c’est-à-dire également au cœur même du style de chacun des écrivains de la maison Minuit. La pratique du discours de résistance au discours de l’idéologie dominante, héritée de la fondation même des éditions (la Résistance), fait écho au genre apocalyptique, c’est-à-dire un genre littéraire qui récuse l’idéologie dominante au profit d’un contre-pouvoir. Le « devoir d’insoumission » relevé par Anne Simonin participe pleinement d’un phénomène postural. Est-ce un hasard si le seul livre publié par Jérôme Lindon dans sa propre maison soit la traduction de Jonas ? Les concepts de style prophétique et de posture permettent de mettre en évidence l’alliance entre le souci de renouvellement esthétique et l’adhésion à des valeurs éthiques. L’apparente très grande diversité des auteurs Minuit peut donc être abordée selon un seul et même angle qui puisse subsumer les époques et les singularités. L’on peut distinguer trois grandes périodes : de 1942 à 1953, de 1953 à 1979 (la grande période du Nouveau Roman, avec Jérôme Lindon à la tête des éditions), de 1979 à aujourd’hui (à partir de la publication du Méridien de Greenwich par Jean Échenoz). Chacune des époques sera le lieu d’un régime postural spécifique, mis en lumière par les exemples successifs de Vercors, de Paul Eluard, de Robert Pinget, de Marguerite Duras, d'Antoine Volodine et de Jean-Philippe Toussaint
