|||GET||| the North China Lover 1St Edition
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Alain Resnais' and Marguerite Duras' Hiroshima Mon Amour
Sarah French, From History to Memory SARAH FRENCH From History to Memory: Alain Resnais’ and Marguerite Duras’ Hiroshima mon amour Abstract This paper examines the representation of history and memory in Alain Resnais’ and Marguerite Duras' 1959 film Hiroshima mon amour. It argues that the film’s privileging of subjective remembrance reflects a broader cultural interest in using memory as a counter discourse to established history. The widely documented cultural preoccupation with memory became particularly prominent in the early 1980s. However, Hiroshima mon amour can be read as an important early example of a film that pre- dates the contemporary ‘memory boom’. For Resnais and Duras, the magnitude of the devastation in Hiroshima exceeds the limits of filmic representation. Their solution to the problem that the historic event is unrepresentable is to approach the event indirectly while focusing on an individual traumatic memory. Through a close analysis and critique of the film I argue that the film’s emphasis on individual memory validates the legitimacy of the personal narrative but problematically subsumes the political events and displaces history from the discursive realm. I also suggest that problems emerge in the film’s depiction of its traumatised female subject. While Hiroshima mon amour represents a complex female subjectivity and interiority, the process of remembrance depicted deprives the woman of agency and renders her trapped within a compulsive repetition of the past. Hiroshima mon amour (1959), written by Marguerite Duras and directed by Alain Resnais, explores the ethical implications of memory, mourning and witnessing in relation to the filmic representation of traumatic events. -
Wartime Writings, Or the Imaginary Lover of Marguerite Duras
Studies in 20th & 21st Century Literature Volume 33 Issue 1 Article 7 1-1-2009 Wartime Writings, or the Imaginary Lover of Marguerite Duras Bethany Ladimer Middlebury College Follow this and additional works at: https://newprairiepress.org/sttcl Part of the French and Francophone Literature Commons, and the Modern Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Ladimer, Bethany (2009) "Wartime Writings, or the Imaginary Lover of Marguerite Duras," Studies in 20th & 21st Century Literature: Vol. 33: Iss. 1, Article 7. https://doi.org/10.4148/2334-4415.1694 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Wartime Writings, or the Imaginary Lover of Marguerite Duras Abstract The publication in 2006 of Marguerite Duras’s Cahiers de la guerre, ‘Wartime Writings,’ written between 1943 and 1949, made accessible to the reader the first known ersionsv of the family drama that was to become the material of much of her fiction. As this work now takes its place as chronologically first in the intertext of Duras’s autofictional writings, it sheds considerable light on our understanding of the transformations in these texts that occurred over her lifetime. Whereas L’Amant had been presented and accepted as the disclosure of a real occurrence and the origin of the other works, it presents several significant aspects of Duras’s life at the time, as well as the lover himself, in a way that is not verifiably real. -
Re-Thinking the Language of Pain in the Works of Marguerite Duras and Frida Kahlo
Re-thinking the Language of Pain in the Works of Marguerite Duras and Frida Kahlo Regina F. Bartolone A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirement for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2006 Approved by: Dr. Martine Antle (advisor) Dr. Marsha Collins (reader) Dr. Maria DeGuzmán (reader) Dr. Dominque Fisher (reader) Dr. Diane Leonard (reader) Abstract Regina F.Bartolone Re-Thinking the Language of Pain in the Works of Marguerite Duras and Frida Kahlo (Under the direction of Dr. Martine Antle) This dissertation is a cross-cultural examination of the creation and the socio- cultural implications of the languages of pain in the works of French author, Marguerite Duras and Mexican painter, Frida Kahlo. Recent studies have determined that discursive communication is insufficient in expressing one’s pain. In particular, Elaine Scarry maintains that pain destroys language and that its victims must rely on the vocabulary of other cultural spheres in order to express their pain. The problem is that neither Scarry nor any other Western pain scholar can provide an alternative to discursive language to express pain. This study claims that both artists must work beyond their own cultural registers in order to give their pain a language. In the process of expressing their suffering, Duras and Kahlo subvert traditional literary and artistic conventions. Through challenging literary and artistic forms, they begin to re-think and ultimately re-define the way their readers and viewers understand feminine subjectivity, colonial and wartime occupation, personal tragedy, the female body, Christianity and Western hegemony. -
She Said Destroy Pdf, Epub, Ebook
SHE SAID DESTROY PDF, EPUB, EBOOK Nadia Bulkin | 264 pages | 20 Aug 2017 | Word Horde | 9781939905338 | English | none She Said Destroy PDF Book Just beyond, the woods, always the woods, a lure, a threat, a veil, a plot unfulfilled but tantalizing. Hide Spoilers. If you love mysteries and thrillers, get ready for dozens Jun 02, Steven rated it really liked it. Read Full Review. About Marguerite Duras. It was also a movie, and Duras's fictions have, of course, been filmed before, From the likes of Alain Resnais to Jules Dassin, but this was her first movie wholly her own, and she has come up with some surprises. No matter how much talk there is of gods and great magic, it cannot be filled with import in this broadly written and drawn outline of one of those stories that sounded like a good at the time. Silence Increasing heat. Only much, much less cute She Said Destroy 1 is a femme centered narrative about a resistance against a near omnipresent empire that combines magic and space travel with dreamy art to boot. Original Title. Here there is not any sounds present which we cannot locate by what we see, just the birds and sound of the men playing tennis, but the sound of the voices still does their tricks with us. I wanted to give it to him. I know I mentioned this book to him, said he might be into it given his background in theater and all that, and he told me that he had a copy of The Lover on his shelf. -
Annotated Books Received
Annotated Books Received A SUPPLEMENT TO Translation Review Volume 14, No. 1 – 2008 THE UNIVERSITY OF TEXAS AT DALLAS CONTRIBUTORS Christopher Speck Megan McDowell Rainer Schulte DESIGNER Michelle Long All correspondence and inquiries should be directed to: Translation Review The University of Texas at Dallas School of Arts & Humanities JO 51 800 West Campbell Road Richardson, TX 75080-3021 Telephone: 972-883-2093 Fax: 972-883-6303 E-mail: [email protected] Annotated Books Received is a semi-annual supplement to the scholarly journal Translation Review, which is a joint publication of The Center for Translation Studies at The University of Texas at Dallas and the American Literary Translators Association (ALTA). ISSN 0737-4836 Copyright © 2008 by Translation Review The University of Texas at Dallas is an equal opportunity/affirmative action employer. ANNOTATED BOOKS RECEIVED 14.1 TABLE OF CONTENTS Albanian......................................................................................................... 1 Arabic ............................................................................................................ 3 Bengali........................................................................................................... 5 Chinese ......................................................................................................... 6 Croatian ......................................................................................................... 7 Czech ........................................................................................................... -
Transnational Images of Hiroshima and Nagasaki: Knowledge Production and the Politics of Representation
TRANSNATIONAL IMAGES OF HIROSHIMA AND NAGASAKI: KNOWLEDGE PRODUCTION AND THE POLITICS OF REPRESENTATION A Dissertation Presented to the Faulty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Yuko Shibata August 2009 ○c 2009 Yuko Shibata TRANSNATIONAL IMAGES OF HIROSHIMA AND NAGASAKI: KNOWLEDGE PRODUCTION AND THE POLITICS OF REPRESENTATION Yuko Shibata, Ph. D. Cornell University, 2009 This dissertation explores how knowledge on the atomic bombings has been produced in relation to postwar reconstruction, the formation of national discourses, and memories of war and colonialism. By examining cinematic representations of Hiroshima and Nagasaki in Japanese, European, and American films, such as the canonical Hiroshima, Mon Amour and the Japanese documentaries used within it, the dissertation argues that while engaging in an open dialogue with each other in the form of refutation, divergence, and affirmation, these films respond to historical changes in the idea of a human being and the postwar world order resulting from the collapse of Japanese and European colonialisms and the emergence of the US as an atomic superpower in the Cold War. It also contends that the ostensible disjunction between Japanese and Euroamerican discursive spheres precisely constitutes a structure of interdependence substantiated by the complicity of nationalisms. This is a process of an active creation rather than a direct suppression and preclusion of knowledge. Chapter One examines the discrepancies in knowledge about films on the atomic bombing by tracing a variety of ways in which they are consumed, questioned, neglected and censored, while participating in the on-going debates about the disciplinary limitations of Japanese film studies. -
Through a Textual Glass, Darkly: the Masochistic in the Feminine Self and Marguerite Duras' Raylene Ramsay Simmons College
Through a Textual Glass, Darkly: The Masochistic in the Feminine Self and Marguerite Duras' Raylene Ramsay Simmons College ABSTRACT This paper examines the inversions operated by proliferating specular images in Duras, seeking the meanings of Emily L.'s masochistic sacrifice of her poetry to her love for the "Captain." The Durassian subject takes form in the movement between looking and being looked at. Emily L., in her indecency and closeness to death, embodies the disturbing strangeness of the perverse desire of the watching narrator, Duras. The telescoping of the dichotomies of the fearful states at the origins of writing (self-loss in, or separation from, the other) also involves a movement between a "masculine" position of desire that seeks to kill and a "feminine" position excited by self-dispossession, a position problematically valorized in Emily L RESUME Cet article examine les inversions operees dans les images speculates qui proliferent chez Duras, a la recherche des sens du sacrifice masochiste que fait Emily L. de ses talents de poete a son amour pour le «Capitaine». Le sujet durassien prend forme dans le va-et- vient entre le regard qu'il pose et qui est pose" sur lui. Emily L., dans son indecence et sa proximitl a la mort, personnifie la troublante etrangete' du desir pervers du narrateur (Duras) qui la regarde. Le mouvement qui telescope les dichotomies des dtats de peur a l'origine de l'ecriture (la perte de soi dans l'autre ou la separation d'avec l'autre) implique aussi un mouvement entre une position «masculine» de d6sir ou Ton cherche a tuer et une position «feminine» ou Ton cherche la d£possession, position valorise* de faoon problematique dans Emily L X RADmONAL AUTOBIOGRAPHY, AS ELAINE Marks At the very beginning of L'Amant, Duras, succinctly recapitulates in her discussion of the sig• addressed as "vous," chooses, somewhat discon• nificant origins of the genre,1 arises in the narcis• certingly, to see herself through the gaze of another sistic project of the search for love (self-love, love —a male admirer (the brother of Prevert). -
Page 260 H-France Review Vol. 6 (May 2006), No. 60 Dominique
H-France Review Volume 6 (2006) Page 260 H-France Review Vol. 6 (May 2006), No. 60 Dominique Auvray, Marguerite: A Reflection of Herself. Brooklyn, N.Y.: First Run / Icarus Films, 2002. VHS, 61 minutes. Color and black and white. $390.00 U.S. Review by Catherine Rodgers, University of Wales, Swansea. This is an engaging portrait of Marguerite Duras who died ten years ago, in March 1996. Dominique Auvray edited several of Marguerite Duras’ films in the seventies (Baxter, Vera Baxter; Le Camion and Le Navire Night) and was also one of her friends.[1] At the beginning of the film, Auvray recalls how Marguerite Duras gave her a copy of L’Amant de la Chine du Nord in 1991 with this message: “To my friend Dominique Auvray, in remembrance of the wonderful time, one of many and not so long ago, of our working together at the cinema.”[2] From the outset, this portrait breathes an atmosphere of friendship and kinship of spirit. It is therefore not surprising that there is a great affinity between the approaches of Auvray and Duras. Like Duras, Auvray deals with the essential, but also lets the apparently anecdotal have its say. In a comment on Moderato Cantabile,[3] Duras once said: “Dépeindre un caractère en son entier, comme faisait Balsac est révolu. J’estime que la description d’un signe, d’une partie seulement d’un être humain (…) est beaucoup plus frappante qu’une description complète. (…) J'appelle cette méthode qui est la mienne description par touches de couleurs.”[4] This is also Auvray’s method. -
Sexual Politics: Mapping the Body in Marguerite Duras's L'amant
RICHARD J. GRAY II Ashland University Sexual Politics: Mapping the Body in Marguerite Duras’s L’A m a n t AB STRACT : In L’A m a n t (1984), through the juxtaposition of traditional male/female sexual roles, Marguerite Duras painted a gynocentric portrait of sexual politics. By depicting a series of encounters in diverse parts of the Indochinese (Vietnam) landscape, Duras’s novel described the sexual “coming of age” story of her female protagonist’s. Each Vietnamese setting became a visual and sensory metaphor for the various developmental stages of the protagonist. In this essay, I contend that Duras’s use of contrasting settings serves to “flesh out” the sexual poli- tics conveyed in the novel. Herein, I examine the geographic locations illustrating the sexual politics of the novel, including the Mekong River signifying the female protagonist’s rite of passage, Cholon, the city where the girl experiences sexual liberation and a struggle with the established authority, the lover’s apartment where the couple consummates their relationship, and finally, France representing the land of wealth to which the protagonist will eventually return. KEY W ORDS : autobiography, Judith Butler, Cholen (Cholon), colonisation, crossing, gender, juxta- position, Marguerite Duras, Julia Kristeva, liberation, liminal space, mapping the body, Mekong, Kate Millett, Other, post-colonial, prostitution, sexploitation, sexuality, sexual politics. In her classic feminist text entitled Sexual Politics (2000), Kate MILLETT stated that “one is forced to conclude that sexual politics, while connected to economics and other tangibles of social organization, is, like racism, or certain aspects of caste, primarily an ideology, a way of life, with influence over every other psychological and emotional facet of existence” (168). -
Duras and Yun, 2018
A Chronology of Conflated Dispersion – Duras and Yun subjectively edited by Haegue Yang, 2018 Marguerite Duras (1914-1996) and Isang Yun (1917-1995) 1910 In the Japan-Korea Treaty of 1910, also known as the Japan-Korea Annexation Treaty, Japan formally annexed Korea. The treaty was concluded by representatives of the Empire of Japan and the Korean Empire on August 22. Recognized as an unequal treaty, its legality was later disputed. 1914 Marguerite Duras was born on April 4 as Marguerite Donnadieu in Gia-Dinh, near Saigon, Indochina (now South Vietnam). Her parents, Henri Donnadieu (1872-1921) and Marie Legrand (1877-1957), were French colonists. She had two elder brothers: Pierre (born 1910) and Paul (born 1912). 1917 Isang Yun was born to a poet Ki-Hyon Yun and a teacher Sun-dal Kim on September 17 in Tongyeong, a seaside city surrounded by islands and on the southern coast of South Korea. (Several sources indicate that Yun was born in the South Korean Province of Kyungnam and moved to Tongyeong at the age of three.) He was deeply influenced by the songs of fishermen, pansori (a Korean genre of musical storytelling), and open-air performances by shamans when he was growing up. 1919 The March 1st Movement, also known as the Sam-il (3-1, in reference to March 1) Movement was one of the earliest public displays of Korean resistance during the Japanese rule of Korea from 1910 to 1945. 1921 Some sources state that Duras’ father died on December 4, when she was seven. Marie Legrand, Duras’ mother, attempted to diversify her income with the purchase of rice fields in current Cambodia, but the investment was tainted by corrupt French colonial bureaucracy. -
“Real” Places in Marguerite Duras's Wartime Paris
Studies in 20th & 21st Century Literature Volume 35 Issue 2 Article 2 6-1-2011 “Real” Places in Marguerite Duras’s Wartime Paris Jennifer Willging The Ohio State University Follow this and additional works at: https://newprairiepress.org/sttcl Part of the French and Francophone Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Willging, Jennifer (2011) "“Real” Places in Marguerite Duras’s Wartime Paris," Studies in 20th & 21st Century Literature: Vol. 35: Iss. 2, Article 2. https://doi.org/10.4148/2334-4415.1746 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. “Real” Places in Marguerite Duras’s Wartime Paris Abstract In the four autobiographical narratives in Marguerite Duras’s La Douleur (1985) The War (1994), over one hundred proper place names appear. While these place names all refer to real places, the relationship between these signifiers and their actual geographical referents is mediated, first yb their signifieds—the reader’s mental constructs of the places mentioned—and further by their appearance in a text that necessarily creates its own, non-material world. Yet this essay argues that in this uncharacteristically realist text Duras works hard to create the illusion that the Paris there is in fact Occupied Paris, the real city in which she lived out the experiences recounted in her text.