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The diverse group of philosophers and literary critics who contribute to this volume address the question of how bodies think, how thought is embodied, from a variety of approaches including deconstruction, Lacanian psychoanalysis, feminist theory, postmodernism, cultural and media studies, literary criticism, and the revisionist study of oppressed peoples.
Bestselling author Marguerite Duras offers a riveting novel about a savage murder in a small French town and the tragic events leading up to it.
Helene Cixous (1937-), distinguished not least as a playwright herself, told Le Monde in 1977 that she no longer went to the theatre: it presented women only as reflections of men, used for their visual effect. The theatre she wanted would stress the auditory, giving voice to ways of being that had previously been silenced. She was by no means alone in this. Cixous's plays, along with those of Nathalie Sarraute (1900-99), Marguerite Duras (1914-96), and Noelle Renaude (1949-), among others, have proved potent in drawing participants into a dynamic 'space of the voice'. If, as psychoanalysis suggests, voice represents a transitional condition between body and language, such plays may draw their audiences in to understandings previously never spoken. In this ground-breaking study, Noonan explores the rich possibilities of this new audio-vocal form of theatre, and what it can reveal of the auditory self.
Samuel Beckett and the Theatre of the Witness explores Beckett's representation of physical pain in his theatre plays in the long aftermath of World War II, emphasising how the issues raised by this staging of pain speak directly to matters lying at the heart of his work: the affective power of the human body; the doubtful capacity of language as a means of communication; the aesthetic and ethical functioning of the theatre medium; and the vexed question of intersubjective empathy. Alongside the wartime and post-war plays of fellow Francophone writers Albert Camus, Eugène Ionesco, Pablo Picasso, and Marguerite Duras, this study resituates Beckett's early plays in a new conceptualising of le théâtre du témoin or a 'theatre of the witness'. These are plays concerned with the epistemological and ethical uncertainties of witnessing another's pain, rather than with the sufferer's own direct experience. They raise troubling questions about our capacity to comprehend and respond to another being's pain. Drawing on an interdisciplinary framework of extant criticism, recorded historical audience response, theatre and affect theory, and medical understandings of bodily pain, Hannah Simpson argues that these plays do not offer any easily negotiable encounter with physical suffering, pushing us to recognise the very 'otherness' of another being's pain, even as it invades our own affective sphere. In place of any comforting transcendence or redemption of endured pain, they offer a starkly sceptical, even pessimistic probing of what it is to witness another's suffering.
One of the most celebrated authors of twentieth-century France, Marguerite Duras loved crime. Indeed, criminal faits divers from the newspaper represented a key element in her literary project. Sensational news stories made their way into her novels, plays and screenplays, inspired numerous journalistic pieces and media interventions, and even informed the way that she discussed her life and work in the press. The Crimes of Marguerite Duras offers an innovative framework for analyzing Duras's literary works and journalism as they relate to the mass media and broader cultural debates. Anne Brancky reveals how Duras's predilection for provocatively blurring the line between truth and fiction on various media platforms helped make her a best-selling author and a public intellectual ahead of her time. Exploring the movement between serious literature and public scandal, this readable book affirms literature's abiding role in political debate and the public sphere.
The extraordinary range, complexity and power of Marguerite Duras – novelist, dramatist, film-maker, essayist – has been justly recognised. Yet in the years following her death in 1996, there has been a increasing tendency to consecrate her work, particularly by those critics who approach it primarily in biographical terms. The British and American specialists featured in this interdisciplinary collection aim to resurrect the Duras corpus in all its forms by submitting it theoretically to three main areas of enquiry. By establishing how far Duras’s work questions and redefines the parameters of literary and cinematic form, as well as the categories of race and ethnicity, homosexuality and heterosexuality, fantasy and violence, the contributors to this volume ‘revision’ Duras’s work in the widest sense of the term
In the summer of 1973, the journalist Xavi_re Gauthier interviewed the writer and filmmaker Marguerite Duras for an article in Le Monde. The meeting began a productive friendship between the two women that included the recording of four more interviews. They spoke of writing, literature, criticism, film, madness, sex, desire, alienation, Marxism, the situation of women, and their "oppression by the phallic class." Published in 1974 in France as Les Parleuses, the book became a classic statement of a positive and politically forceful feminist stance and an influential exploration of how Western culture has constructed gender roles and dealt with sexuality.
Are the words that a novelist uses adequate to his or her elusive subject&—the human condition? Are they pertinent, accurate, invariably fair, unflinchingly honest? Or do the novelist's words execute essentially formal maneuvers, engaging our interest through their patterns rather than their reach? And what about a possible third, synthesizing option? Robert W. Greene discovers that the two apparently divergent intentions in question (metalinguistic vs. moralistic) often paradoxically coexist in French fiction. Also, no doubt because it is more consistently self-conscious than that of any previous era, the fiction of twentieth-century France seems to illustrate this convergence with special brillance. From L'lmmoralist (1902) to L'Usage de la parole (1980) Greene explores combinations and permutations of moralistic analysis and metalinguistic commentary in a particular sequence of prose narrative. Along the way, he observes Gide, Proust, Malraux, Camus, Duras, and Sarraute, each in his or her own fashion, moving ceaselessly back and forth between soundings of the heart and diagnoses of the tongue.
Barbara Bray (1924-2010) was an English woman of letters who translated some hundred novels, plays, and essays from French to English and was Marguerite Duras’s preferred translator. She also collaborated with some of the most prestigious directors and playwrights of the 20th century – Harold Pinter, Samuel Beckett, Joseph Losey, and Franco Zeffirelli – helping them write screenplays and radioplays. This literary biography (re)evaluates in a textual, sociological, and historical perspective the social role of an English writer and translator in the history of ideas and contemporary art. Highlighting Bray’s influence in cultural transfers of ideas and literatures between France, Great Britain, and the United States, it renders visible the yet unrecognised work of a female mediator and creator. It nourishes the debate about women’s public voice and the representation of women in the media industries and contributes to enrich the ‘other’ history that is being currently written by feminist scholars around the world.
Marguerite Duras is France's best-known and most controversial contemporary woman writer. Duras' influence extends from her early novels of the 1950's to her radically innovative experimental autobiographical text of the 1980's The Lover Leslie Hill's book throws new light on Duras' relationship to feminism, psychoanalysis, sexuality, literature, film, politics, and the media. Feted by Kristeva, and Laca who claimed her as almost his other self, Duras is revealed to be a profoundly transgressive thinker and artist. It will be a must for all concerned with contemporary writing, writing by women, recent European cinema, film and literature.