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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. -
|||GET||| the North China Lover 1St Edition
THE NORTH CHINA LOVER 1ST EDITION DOWNLOAD FREE Marguerite Duras | 9781565840430 | | | | | The North China Lover by Marguerite Duras (1992, Hardcover) The item may be a factory second or a new, unused item with defects or irregularities. Inher mother returned to France, wealthy from property investments and from the boarding school she had run. The exotic backdrop is hauntingly gorgeous but the "family of I disagree with the rave reviews for this "fascinating retelling of the dramatic experiences of Marguerite Duras's adolescence. Jul 03, Mena rated it liked it. The family struggled financially and her mother made a bad investment The North China Lover 1st edition an isolated property and area of rice farmland in Prey Nob,[2] a story which was fictionalized in Un Barrage contre le Pacifique. Unsourced material may The North China Lover 1st edition challenged and removed. Skip to content. Inwhen she was 17, Duras and her family moved to France and she completed her baccalaureate. Stay connected! Flexible - Read on multiple operating systems and devices. From wikipedia The review is over and I've talked for far too long on this. The man she was screwing in book 1 should've been with her mother since they were about the same age, instead of going with her little teeny bopper daughter. This is the story of her adolescence living in a boarding school, and because her mother was a school official, The North China Lover 1st edition looked the other way when the daughter began h This is a good autobiographical story--reads like a screenplay for the movie which I saw years ago. -
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 ........................................................................................................... -
Introduction Bakhtin, "Discourse in the Novel," P. 355. 3. Yaeger, "A Fire In
Notes Introduction 1. Bakhtin, "Discourse in the Novel," p. 355. 2. Ibid., p. 360. 3. Yaeger, "A Fire in my Head," p. 959. 4. Bakhtin,op. cit., p. 271. 5. Ibid., p. 270. 6. Ibid., p. 263. 7. The term "dialogism" is explained by Bakhtin's translators in the text's glossary: "Dialogism is the characteristic epistemological mode of a world dominated by heterglossia. Everything means, is understood, as a part of a greater whole - there is constant interaction between meanings, all of which have the potential of conditioning others. [... [ This dialogic imperative, mandated by the pre-existence of the language world relative to any of its current inhabitants, insures that there can be no actual monologue. One may [... ] be deluded into thinking there is one language, or one may, as grammarians, certain political figures and normative framers of 'literary languages' do, seek in a sophisticated way to achieve a unitary language. In both cases the unitariness is relative to the overpowering force of heteroglossia, and thus dialogism." Ibid., p.426. 8. Ibid., p. 300. 9. Houdebine, "Les Femmes dans la langue," pp. 11-12. All translations from the French in this book are mine unless otherwise indicated. 10. Beauvoir, Le DeuxiCmc sexc. 11. Cixous, "Le Sexe ou la tete," p. 7. 12. Cixous, La Jeune nee, pp. 115-117. 13. Benjamin, "The Bonds of Love," pp. 46-47. 14. Foucault, L'Arc1uzeologic du savoir, p. 90. 15. The term is ambiguous because the French "feminin" signifies both "female" and "feminine." 16. Rosalind-Jones, "Writing the Body," p. 374. 17. -
Univers^ International
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. If copyrighted materials were deleted you will find a target note listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in "sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
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. -
The University of Chicago Notes Taking Sides: Social
THE UNIVERSITY OF CHICAGO NOTES TAKING SIDES: SOCIAL AND AESTHETIC MEANINGS OF MUSIC IN THE NOVEL A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ROMANCE LANGUAGES AND LITERATURES BY VEERLE DIERICKX CHICAGO, ILLINOIS JUNE 2020 COPYRIGHT 2020 VEERLE DIERICKX For August TABLE OF CONTENTS ACKNOWLEDGMENTS ............................................................................................................. vi ABSTRACT .................................................................................................................................. vii CHAPTER I: INTRODUCTION .................................................................................................... 1 . MUSIC AND LITERATURE ........................................................................................................ I . WAGNERISM ........................................................................................................................... J . MUSIC AND THE NOVEL ......................................................................................................... L . APPROACH ............................................................................................................................ HJ . CHAPTER OUTLINE ................................................................................................................ HN CHAPTER II: THE FIGURE OF THE COMPOSER .................................................................. 27 . -
Une Douceur Égorgée : La Musique Dans L'oeuvre De Marguerite Duras
Document generated on 09/25/2021 12:34 p.m. Québec français Une douceur égorgée La musique dans l’oeuvre de Marguerite Duras Midori Ogawa Littérature et musique Number 152, Winter 2009 URI: https://id.erudit.org/iderudit/44187ac See table of contents Publisher(s) Les Publications Québec français ISSN 0316-2052 (print) 1923-5119 (digital) Explore this journal Cite this article Ogawa, M. (2009). Une douceur égorgée : la musique dans l’oeuvre de Marguerite Duras. Québec français, (152), 51–54. Tous droits réservés © Les Publications Québec français, 2009 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ LITTÉRATURE et MUSIQUE K Une douceur égorgée : la musique dans Vœuvre de Marguerite Duras pat Midori Ogawa* MARGUERITE DURAS LE VICE- J'écris des livres dans une place difficile, CONSUL c'est-à-dire entre la musique et le silence. Je crois que c'est quelque chose comme ça. On rate toujours quelque chose, ça c'est forcé, c'est une obligation dans la vie, j'ai raté la musique1. ette confession faite par Marguerite Duras lors d'une à lui, est conçu comme une œuvre régie par « une syntaxe musi émission télévisée place la musique en tension avec cale4 » interpellant moins l'intelligence que la sensibilité, expri C l'écriture, activité créatrice à laquelle l'écrivaine s'est mant ainsi moins le sens que la signifiance5. -
The Films of Margurite Duras
The Museum of Modern Art For Immediate Release March 1995 THE FILMS OF MARGUERITE DURAS April 14 - May 14, 1995 An exhibition of films by French director, writer, and actress Marguerite Duras (b. 1914) opens at The Museum of Modern Art on April 14, 1995. Best known in the United States as an author, Duras has generated an extremely impressive, and often controversial, body of film work that offers an essential counterpoint to her writings. The fifteen films included in THE FILMS OF MARGUERITE DURAS, in which verbal lyrical texts are as significant as the images, offer a profound and poetic challenge to conventional dramatic narrative. The exhibition continues through May 14. Characters in a Duras film are often lovers in search of some unelaborated fulfillment, inhabiting worlds marked by immense loneliness, resignation, narcissism, love, and cruelty. They often cling to the trappings of romantic cliche: the wineglass, the piano sonata, the rose, the tryst in the hotel bar, the crime of passion. In Duras' hands, these subjects become vivid emblems of her preoccupations with memory and dreaming, with colonialism and gender game-play, and with the power of language, music, and film to corrupt, to liberate, to wound, and to heal. Highlights of the exhibition include Duras' first screenwriting effort, Hiroshima mon amour (1959), directed by Alain Resnais; Nathalie Granger (1972), starring Jeanne Moreau and Gerard Depardieu; Moderato cantabile (1960), with Moreau and Jean-Paul Belmondo; and, perhaps her most popular film, India Song (1974). Also included is an episode from a British - more - 11 West 53 Street, New York, NY. -
Une Étude De L'œuvre Moderato Cantabile De Marguerite Duras
Intimisme et psychocritique: une étude de l’œuvre Moderato Cantabile de Marguerite Duras Júlia Ferreira Université Fédérale du Acre - UFAC Synergies Brésil Résumé : Marguerite Duras est un écrivain que nous désignerons d’intimiste. 125-131 n° spécial 1 - 2010 pp. Elle est intimiste lorsque son écriture met en scène vie et œuvre. Dans ces deux mondes, l’intime ne se traduit que par les silences et le secret. L’intime s’exprime, quand l’auteur traduit l’intraduisible: une histoire personnelle qui demeure dans son état latent. Ainsi, entre continuité et discontinuité du discours, l’intime trouve finalement son origine autours du manque et de l’absence. Pour les décrire, l’auteur met en lumière la musique. Elle symbolise le présent et le passé, la mémoire et l’oubli, l’amour et la mort, thèmes durassiens par excellence. Sans relier vie e œuvre, on constate que tous ces fantasmes de l’écriture sont directement liés à l’enfance de l’auteur. Ils sont précisément liés à la mort de son jeune frère. Cette histoire intime l’a marquée profondément, jusqu’à la mort de l’auteur. Mots-clés: mémoire, oubli, amour et mort Resumo: Marguerite Duras é uma escritora que designamos de intimista. Ela é intimista quando sua escritura coloca em cena vida e obra. Nestes dois mundos, o íntimo se traduz por silêncio e por segredo. O íntimo se revela quando a autora traduz o não traduzível: uma história pessoal que reside no estado latente. Assim, entre continuidade e descontinuidade do discurso, o íntimo se encontra finalmente sua origem em torno da falta e da ausência.