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    Masochism and literature, with reference to selected literary texts from Sacher-Masoch to Duras.

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    PhDThe introductory section of the thesis puts forward a view of the usefulness of the concept of masochism in studying literature, arguing that the tendency has been inadequately formulated by psychoanalytic theory. It refers to debates within gay studies, feminism, psychoanalysis and literary studies to contextualise the argument of the thesis. The first chapter analyses Freud's key essay on masochism, 'The Economic Problem of Masochism' (1924) and appraises other theoretical contributions which have discussed the relation of masochism to artistic creativity. It goes on to critique the feminist view of women's masochism as reflecting patriarchal relations, and examines Jungian perspectives which focus on the notion of an imitatio Christi. Chapter two contrasts a Christian view of suffering with that of psychoanalysis. It examines Simone Weil's life and ideas in the light of a sublimatory or moral masochism, and looks at the 'agonic' thought of Unamuno. The historical moment at which the term masochism was coined is the focus of the opening part of chapter three. Sacher-Masoch's novel Venus in Furs is analysed, referring to Deleuze's commentary which emphasises the death instinct. Sacher-Masoch's untranslated novel, Die Seelenfängerin, is also discussed. Chapter four deals with Michel Leiris's L'age d'homme, analysing the central themes of masculinity, the risk inherent in literary creativity and the sacred element in masochistic self-exposures. The final chapter on works by Marguerite Duras examines a novella, L'homme assis dans le couloir, describing the process of reading as a form of masochistic introjection. It then looks at La douleur to focus on a masochistic, feminine rite of passage. A discussion of La maladie de la mort locates a shattered solitude within masochistic desire. The thesis concludes by proposing a more nuanced dialogue between psychoanalysis and literature, by emphasising the importance of an exploratory women's writing, and suggesting the need for a more consciously masochistic body politic

    O TEMPO EM L’AMANT DE MARGUERITE DURAS - LE TEMPS DANS L’AMANT DE MARGUERITE DURAS

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    Resumo: Este artigo traz reflexões envolvendo diversas perspectivas datemática do tempo em L’Amant de Marguerite Duras. A obra escolhidaapresenta o tempo através de múltiplos vieses, o que objetiva o seu estudo nainterface memória e texto literário. O tempo aqui é discutido entre teorias dotempo filosóficas, literárias e também com excertos da obra selecionada.Essa reflexão é embasada em autores como Gilles Deleuze, TzvetanTodorov, Gérard Genette e Henri Atlan.Palavras-Chave: Tempo. Imagem. L’Amant. Marguerite Duras.Abstract: This paper discusses diverse perspectives on the theme of time inL\u27Amant by Marguerite Duras. The chosen work presents the time throughmultiple views, which aims its study in the memory interface and literarytext. The time here is discussed between philosophical and literary theoriesof time, and also with excerpts from the selected work. This reflection isbased on authors such as Gilles Deleuze, Tzvetan Todorov, Gérard Genetteand Henri Atlan.Keywords: Time. Image. L\u27Amant. Marguerite Duras

    Un nouveau langage pour peupler le corps dans L’Amant, Marguerite Duras / A new language to inhabit the body in the Lover, Marguerite Duras

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    Abstract : Dans L’Amant, résonnant les critiques poststructuralistes et féministes, Marguerite Duras déconstruit les mythes du corps féminin en renversant la dichotomie homme-femme et reconstruit un autre univers en introduisant des sujets traditionnellement tabous et marginaux comme l’homosexualité, la prostitution et l’inceste. En effet, Duras représente un langage innovateur et révolutionnaire qui rompt avec les discours patriarcaux de la première moitié du vingtième siècle. Au lieu de parler d’elle comme un sujet féminin rendu objet par le regard masculin, Duras renverse le discours patriarcal peignant la femme comme un sujet légitime qui se regarde et qui expérimente son corps ainsi que celui d’autrui. Le corps s’enrichit avec des connotations qui le libèrent, tout en reconnaissant l’aliénation qui le hante. Écrire pour Duras est une symphonie nouvelle qui ouvre les portes de la mémoire. Écoutons-la que ce soit dans son emprisonnement ou sa libération !Mots-clés : discours ; identité ; corps ; sexualité ; féminisme.Abstract: In The Lover, Marguerite Duras echoes the critical studies of the poststructuralists and feminists, when she deconstructs the myths of the female body, breaking the patriarchal dichotomy man-woman, while reconstructing another universe which includes subjects that have been traditionally marginalised (homosexuality, prostitution and incest). In fact, she represents an innovative and revolutionary language that contrasts with the patriarchal discourses of the first half of the twentieth century. Instead of speaking about her as a feminine subject objectified by the male gaze, Duras creates a new discourse that represents woman as a legitimized subject that fixes her gaze on her body, living its erotic desires and embracing those of others. Duras elaborates the discourse of the body adorning it with new connotations that liberate it, while recognizing the alienation that haunts it. Writing for Duras becomes a new symphony that opens the doors of memory. Let us listen to it both in its imprisonment and its liberation.Keywords: discourse; identity; body; sexuality; feminism
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