1 Introduction

Home , Michel Tournier, Patrick Grainville

Notes

1 Introduction

1. Robbe-Grillet, For a New Novel (henceforth FNN), 28–9. The name nouveau roman was coined by Émile Henriot in a Le Monde article (May 22, 1957), which focused on Robbe-Grillet’s La Jalousie and Nathalie Sarraute’s Tropismes. Robbe-Grillet was the principal author who fervently embraced and theorized this notion; others, particularly Michel Butor and Marguerite Duras, felt uneasy about the term. 2. References to this notion include Kibédi Varga (1988: 30, 38, 1990), Korthals Altes (1992: 3, 7), Prince (1994: 988), Gratton (1997: 248), Davis and Fallaize (2000: 13–15), Viart and Vercier (2005: 353), Biermann and Coenen- Mennemeier (2006: 388), Godard (2006: 413–35), Kemp (2010). 3. Important contributions include MacIntyre (1984), Ricoeur (1984, 1985, 1988), Taylor (1989), Freeman (1993), Cavarero (2000), Brockmeier and Carbaugh (2001), Kearney (2002), Butler (2005), Allen (2008), Goldie (2012). 4. On the narrative turn, see Norris (1985: 21), Hinchman and Hinchman (2001), Punday (2003), Kreiswirth (2005), Fludernik (2006: 46–8), Herman (2007: 4–5), Alber and Fludernik (2010) and Hyvärinen (2010, 2013), who discusses the broader cultural narrative turn (for example in media and politics). 5. On the concept of metanarrativity, see Neumann and Nünning (2012). For a narratological discussion of ‘narrative as theme’ in French fiction, with a focus on fictional views on the adequacy of narrative for truth, see Prince (1992). 6. On metamodernism, see Vermeulen and Akker (2010). As McHale (2013) observes, looking back, the modernism/postmodernism dichotomy is very US-centred and problematic in both European and global contexts. This is particularly true from the perspective of French literature. 7. For example, one of the ‘fathers’ of narratology, Genette (1976: 1), demands, as late as 1969, that it is necessary to pay greater attention to the ‘problematic aspect of the narrative act’. On the poststructuralist suspicion of narrative, see for example Kellner (1987), Davis (2004: 103–28), Klepper (2013: 1–2). 8. It is still largely the case that, as Fludernik (2003: 331) notes, ‘there has been comparatively little interest on a theoretical level in the history of narrative forms and functions’. 9. Some scholars have also seen a rehabilitation of narrative in German and Anglophone novels of the 1980s; see Rimmon-Kenan (1996), Förster (1999: 3), Hörisch (2004). However, to my knowledge none of these ‘returns’ has been properly related to the narrative turn in critical discourse. 10. The ongoing scholarly interest in Robbe-Grillet’s work and the need to reevaluate his literary-historical significance is testified to by Allemand and Milat (2010), for example. Richardson (2012: 22) describes Robbe-Grillet’s

231 232 Notes

work as part of an important antimimetic narrative tradition that ‘has not yet been properly accounted for by narrative theory’. 11. Tournier’s profound effect on international literary life is evidenced, for example, by his nomination, in 2007, as the only French author who was a contender for the Man Booker International Prize, which acknowledges a writer’s overall contribution to fiction on the world stage. 12. Dans le labyrinthe has been regarded as a ‘watershed novel’ between modernism and postmodernism – see for example McHale (1987: 13–15, 1992: 51), Smyth (1991: 66, 68) – whereas Le Roi des Aulnes has been interpreted vari- ously as a traditional realist novel or a postmodernist novel. 13. For an overview of this debate, see Clark (2004: 86–105). 14. Important landmarks in this development were MacIntyre’s After Virtue (1981), Ricoeur’s three-volume Time and Narrative (Temps et récit, 1983–85) and Bruner’s work in narrative psychology (1986, 1987, 1990). 15. See for example Ricoeur (1984), Polkinghorne (1988), Bruner (1990: 43), Freeman (1993, 2010), Widdershoven (1993), Cavarero (2000), Crossley (2000: 11), Ritivoi (2006), Phelan (2007), Boyd (2009), Brockmeier (2013) and Schiff (2013). 16. See for example Barthes (1982: 94), Cohn (1999: 12), Kafalenos (2006) and Ryan (2007: 29). For a discussion on the primacy of the notion of event in the narratological conception of narrative, see Rabinowitz (2005: 184). 17. On the distinction between ontological and epistemological/cognitive approaches, see Ritivoi (2005: 231) and Hinchman and Hinchman (2001: xix–xx). Thinkers who consider narrativity to be primarily an ontological concept include Taylor, Ricoeur, MacIntyre and Carr, whereas the epistemological-cognitivist position is represented for example by White, Mink, Dennett, Herman and other cognitivists who see narrative as a ‘basic human strategy for coming to terms with time, process and change’ (Herman et al. 2005: ix). 18. Both these aspects are acknowledged by a range of thinkers including Cavarero (2000), Benhabib (2002), Bamberg and Andrews (2004), Butler (2005), Allen (2008) and Nünning (2009). 19. The notion of narrative identity is more widespread (for an insightful overview of approaches that emphasize the social aspect of narrative identity, see Klepper 2013), but the notion of narrative subjectivity has also been used across disciplines (for example Ricoeur 1992, Rasmussen 1996, Worthington 1996, Benhabib 1999 and Clark 2010). 20. The differences and similarities between natural and unnatural narratology are informatively summarized in Fludernik (2012) and Alber et al. (2012). 21. ‘Unnatural narratology’ emphasizes the ‘playful and outrageous’ character of antimimetic texts (Richardson 2012: 25), but pays little attention to the epistemological, ontological or ethical reasons for the rejection of conven- tional narrativity and for privileging fragmentary, incoherent or otherwise ‘unnatural’ narrative structures. 22. For further discussion of ‘narrative hermeneutics’, see Brockmeier (2013), Meretoja (2013, 2014) and Brockmeier and Meretoja (forthcoming). 23. On the ‘move from found to constructed orders’, see Taylor (1989: 156, 161). Notes 233

24. As MacIntyre (1984: 121–30) reminds us, storytelling functioned as a major means of socialization in premodern societies. See also Taylor (1989: 178–9) and Ehrich-Haefeli (1998: 811–43). 25. On this novelistic tradition of ‘an artwork mirroring itself as it mirrors reality’, flaunting ‘its own condition of artifice’ as it explores ‘ways of going beyond words to the experiences words seek to indicate’, see Alter (1975: ix–xi). 26. According to Rousso (1991), the age of ‘repression’ lasted until 1971; in the light of this periodization, Tournier was ahead of his time in dealing with the issue of collaboration in Le Roi des Aulnes (1970). 27. On their ‘manifesto’ character, see Yanoshevsky (2006: 249, 258). 28. For an overview of this ethos, see Scholes (1980). Heidegger was one of the key thinkers whose criticism of subjectivity and representation influenced the postwar crisis of humanism (see Menke 2003; Vattimo 1988: 46; Renaut 1999: xvii). The Frankfurt School was also one of the important influences of the intellectual leaders of May 1968. 29. On critical hermeneutics, see Thompson (1995), Kögler (1999), Pappas and Cowling (2003), Vasterling (2003), Ritivoi (2006), Mootz and Taylor (2011) and Roberge (2011). 30. On the need to historicize narrative studies, see for example Fludernik (2003) and Nünning (2004, 2009). Philosophical approaches to narrative (for example Sartwell 2000; Carroll 2001; Currie 2010; Nussbaum 2010; Goldie 2012) tend to privilege philosophy at the expense of attentiveness to what is specific to literature. 31. Classics of this tradition include Auerbach (1946), Lukács (1971), Goldmann (1975), Bakhtin (1981, 1984b), Jameson (1991) and Barthes (1984: 14), who acknowledges that every choice of a literary form entails a ‘general choice of ethos’. Other studies that have been particularly important for my work include Davis (1988, 2000), Korthals Altes (1992), Saariluoma (1994, 1996, 2004) and Worthington (1996). 32. Twentieth-century hermeneutics has been a source of growing interest in the field of literary studies – see for example Clark (2006), Ritivoi (2006), Felski (2008), Davis (2010), Mootz and Taylor (2011) and Schaeffer (2013) – but this tradition is still subject to abundant misunderstandings. In France in particular a strong suspicion has prevailed towards hermeneutics, since many poststructuralists have conceived of it as a mode of thought directed at the decipherment of ‘hidden meanings’; see for example Foucault (1994: 373) and Badiou (2004: 43). On the French interpretation of hermeneutics, see Davis (2010: 32–3, 50, 63, 173). 33. The philosophical analyses of Robbe-Grillet’s work have tended to focus on his theoretical writings; for example Heath (1972) and Britton (1992). To my knowledge there are no sustained analyses of the different philosophical aspects of the nouveau roman’s rejection of storytelling. 34. Davis (1995b) delighted in the new, more strenuous quality of Tournier studies, and a decade later Posthumus (2006) wrote about ‘un renouvellement de la critique tourniérienne’, but concluded that it remains for criticism to situate Tournier’s oeuvre in literary history. 234 Notes

2 Textual Labyrinths: Robbe-Grillet’s Antinarrative Aesthetics

1. The former line of interpretation was initiated by Genette’s Vertige ﬁ xé (1962) and continues in contemporary ‘unnatural narratology’; the latter was launched by Morrissette’s Les romans de Robbe-Grillet (1963) and remains influential in contemporary Robbe-Grillet scholarship (for example several contributions in Allemand & Milat 2010). 2. Original French quotations are given from primary sources, and from other French works only when relevant to the discussion. Translations without references to existing translations are my own. 3. For a detailed account of the correspondences between the elements in the narrator’s room and in the soldier’s story, see Morrissette (1971: 153–84) and Leki (1983: 72–9). 4. For Carrabino (1974: 121), for example, ‘the main narrator is a doctor who creates the novel’; Lethcoe (1965: 499) takes the narrator to be lying on the bed and dying; Sturrock (1969: 232) suggests that the novel can be read as an ‘electro-encephalograph of a highly active brain’. 5. On the connection between ontological instability and epistemological uncertainty, see McHale (1987: 11) and Saariluoma (1994: 24). 6. As Richardson (2002: 48–9) points out, the ‘contradictory’ temporality of Robbe-Grillet’s novels ‘seriously vitiates the very notion of story’ and other Genettean concepts such as ‘frequency’. On how Robbe-Grillet radicalizes the redefinition of narrative temporality in his later work, see Heise (1997: 116–46). 7. Ryan (2001: 124) argues that the novel ‘actively inhibits’ immersion, but, as Mäkelä (2012: 145) observes, such a reading simplifies the matter. 8. For a discussion of how Robbe-Grillet questions this dichotomy, see also Richardson (2002: 53, 2012: 24). 9. For example, Topologie d’une cité fantôme is divided into five ‘spaces’ (TCF: 7–8) instead of ‘chapters’. 10. See for example Ricardou (1971: 32, 262–4), Carroll (1982: 10–16) and Babcock (1997: 4, 23–5). Often this shift is drawn too sharply and situated too late. If we consider how central the notion of écriture was for both Robbe- Grillet and Barthes, Carroll (1982: 12) is hardly justified in claiming, ‘The problem of language is never posed by Barthes or Robbe-Grillet, nor, it would be safe to say, by any other critics of the New Novel at this time.’ 11. From the late 1970s, however, Simon and Robbe-Grillet began to distance themselves from Ricardou’s views (see Oppenheim 1986: 106; V: 262). Sarraute, too, spoke about writing as the ‘play of language’, but she never abandoned the idea that literature gives expression to pre-linguistic reality, although she sees language as the medium in which the micromovements of consciousness (‘tropisms’) properly come to being (Ricardou & Rossum- Guyon 1972b: 50–51, 57; Sarraute 1987: 197–9). 12. Robbe-Grillet names Dans le labyrinthe as the novel that marks a turn- ing point in his oeuvre in that it first manifests ‘la fonction créatrice de l’écriture’ (V: 128). 13. See Bürger’s (1992: 44) analysis of form as ‘the category of artistic modernism par excellence’. 14. On the tradition of pure art, see Poggioli (1968: 199–206) and Léonard (1974: 90–100, 122–31). Notes 235

15. On the importance of Flaubert’s (1910: 70) ‘art pur’ for Robbe-Grillet, see FNN: 45, GIM: 152, 154, MQR: 216, 219.

3 The Epistemology and Ontology of Antinarrativism

1. See for example Sartwell’s (2000) playful plea for emancipation from the oppressive chains of narrative, meaning and language. 2. Britton (1992: 25–47) is one of the few scholars who have properly acknowledged Robbe-Grillet’s debt to Sartre, but she focuses on the question of commitment in Pour un nouveau roman and does not discuss Sartre’s influence on Robbe-Grillet’s novels. 3. Britton (1992: 26) argues that in his 1957 essay, Robbe-Grillet moves from rejecting ‘meaning as such’ to rejecting ‘pre-existing meanings’. Nevertheless, a general suspicion of meaning remains an important aspect of his thinking. For example, in his 1958 essay he asserts that all metaphors and ‘all analogies are just as dangerous’, and posits a total ‘absence of signification’, ‘a void’, as the starting point of the nouveau roman (FNN: 57–9; see also Ricardou 1976: 36). 4. Recently, increasing attention has been paid to the way in which ‘every epistemology carries ontological assumptions’, as Grosz (2007) puts it. 5. See Bernal (1964: 9–19), Sturrock (1969: 28–9), Morrissette (1971: 41), Carrabino (1974), Allemand (1997: 17–18), Dugast-Portes (2001: 126–7). Heath (1972: 86–110) convincingly criticizes such phenomenological readings and shows how Robbe-Grillet’s theoretical views are at odds with phenomenology. I think that Heath is generally right, but paints a somewhat simplified view of Robbe-Grillet’s ‘antiphenomenological’ theory of perception, as expressed in ‘Nature, Humanism, Tragedy’ (1958), without considering his other, more phenomenologically minded essays or the relation of his novels to phenomenology. Although Robbe-Grillet explicitly argues that the world ‘refuses to conform to our habits of apprehension and to our classification’ (FNN: 21), Heath (1972: 95–6) claims that Robbe-Grillet’s ‘terms of security’ include ‘classification, language, scientific reason’. 6. On Merleau-Ponty’s spatial conception of perspective and on his phenomenology as ‘a movement from the personal subject to an impersonal and anonymous one’, see Descombes (1980: 63, 70–71). 7. For recent accounts of the intertwinement of memory, identity and narrativity, see for example Freeman (2010, 2013), Goldie (2012), Brockmeier (2013) and Klepper (2013). 8. DL: 35, L: 29 and more than a dozen times after that. 9. In the English translations the distinction between Sein and das Seiende is often made by indicating Sein with the use of a capital B (Being vs being), although the context, too, usually makes that clear. 10. See Gadamer’s (1984: 59–60, 65) analysis of how phenomenology went through a hermeneutic turn in Heidegger’s philosophy: Husserl’s motto ‘back to the things themselves’ still indicates an attempt to reach beyond interpretation, whereas for Heidegger interpretation became the most fundamental phenomenon. Husserl and Merleau-Ponty themselves acknowledge that phenomenology shares with positivism a striving towards the immediate given- ness of phenomena: Husserl (1983: 39) called himself the only ‘true positivist’ 236 Notes

who took things as they are immediately given, and Merleau-Ponty (1962: xvii) characterizes his own philosophy as ‘phenomenological positivism’. 11. Carrabino (1974: 43), for example, concludes that ‘[t]he New Novel deals [...] with the field of psychical phenomenology, the naïve representation of psychic experiences’. See also Sturrock (1969: 26).

4 Antinarrativist Ethics in the Postwar Context

1. On how Robbe-Grillet’s texts both subvert and reproduce oppressive, stereo- typical representations of women, see Suleiman (1977) and Ramsay (1992). 2. A similar ethos underlies Derrida’s view of the violent character of language and is at odds with the hermeneutic conception according to which meanings are always in the process of being formed, and all understanding is ‘always-understanding-differently’, whereby language has potential not only for violence but also for ethical encounters (Gadamer 1993a: 8). 3. Cf. Cloonan (1999: 16, 46); Robbe-Grillet’s autobiographical trilogy more obviously invites contextualizing readings (see Ramsay 1996, 2001). 4. On reification and its conceptual history, see also Heidegger (1967: 72, 497, §10, 83), Lukács (1971: 87, 210), Habermas (1984: 366–86), Jaeggi (2005), Honneth (2008). 5. On how Weber’s and Foucault’s thought gives expression to the essential ambiguity of modernity, see Owen (1994). Weber (2001: 124) acknowledges somewhat better than the early Foucault that human beings are not merely products of sociocultural systems but also their producers, although he does not mince his words any more than Foucault in describing the modern individual as a ‘nullity’ who imagines to have ‘attained a level of civilization never before achieved’. 6. On the concept of technical responsibility, see Bauman (1989: 100). 7. See Goldmann (1975: 145) and Adorno’s (2005: 199–200) analysis of ‘reified consciousness’. 8. On this shift, see Harris (1985: 69), Green (1986: 8, 273–4) and Brosman (1999: 137, 179). 9. To my knowledge only Vidal (1975: 88–91) briefly discusses the reference to ‘Henri Martin’ in Dans le labyrinthe. 10. As Brosman (1999: 148) notes, novels on the First World War make ‘a martyr and a hero of the little man, lost in a meaningless battle’. 11. Although the case of Henri Martin gave rise to a relatively widespread discussion in the France of the 1950s, he was soon forgotten, and Sartre’s L’Affaire Henri Martin remains one of his least-known works (Cohen-Solal 1988: 326). 12. The idea that everyone has the potential to be the creator and artist of their own life harks back even further, to Early German Romanticism (see Schleiermacher 1843–64: 253). 13. On such antagonistic pathos in the avant-garde tradition, see Poggioli (1968: 27–39, 61–2) and Calinescu (1987: 117). 14. On the decentred labyrinth as the ‘metaphor and structural paradigm of much of postmodern experimental fiction’, see Hoffmann (1996: 117). 15. See Butler’s (2004: 21–38) discussion of Wittig, who is frequently linked to the nouveau roman. Notes 237

5 Reengagement with the World: Towards an Aesthetics of Dialogical Intertextuality

1. See Kristeva (1969), Sollers (1970: 76) and the collective manifesto of the Tel Quel theoreticians (Théorie d’ensemble, Paris: Seuil, 1968). 2. For similar appraisals, see Poulet (1975: 93–101) and Shattuck (1984: 218). 3. Thereby Robbe-Grillet no longer so much fights against narratives as plays with their ‘generative power’, as Jefferson (1980: 50–51) puts it. 4. For example, the Oxford English Dictionary defines myth as a ‘traditional story, typically involving supernatural beings or forces or creatures, which embodies and provides an explanation, aetiology, or justification for something such as the early history of a society, a religious belief or ritual, or a natural phenomenon’. Whereas in the premodern mythological life-world myths recounted collectively shared sacred stories, this is obviously not the case with the secularized myths of modern literature. See for example Watt (1996), Bell (1997), Schilbrack (2002), Segal (2007). 5. On the notion of ‘counter-narrative’, see Bamberg and Andrews (2004). 6. On Tournier’s Vendredi as a rewriting of Defoe’s Robinson Crusoe, see for example Petit (1991: 1–23), Saariluoma (1994: 38–66), Vray (1997: 290–331). Tournier’s other novels, too, include a wealth of intertextual allusions, charted by previous criticism. 7. Korthals Altes (1992: 151–2) is sceptical of Tournier’s view that myth gives form to our aspirations, because the aspirations of his characters are so strange that they are unlikely to be widely shared by readers. To me it seems, however, that Tournier is not so much making the point that these particular aspirations are shared but, rather, drawing attention to the way in which cultural narratives mediate our relation to the world, that is, to this very structure of mediation. 8. On the relation between Bakhtinian dialogism and Kristeva’s intertextuality, see for example Lesic-Thomas (2005). 9. The word ‘dialogue’ has pride of place in his ‘dictionary’ of the 300 words that are most important for his thinking (PL: 60). 10. On Tournier’s intertextuality, see for example Worton (1982), Korthals Altes (1992: 162–75), Vray (1997) and Genette (1997: 213), who maintains that in Tournier’s case all definitions and subcategories of intertextuality ‘are bound to be more or less ill-fitting’. 11. This observation has been crucial to the theory of metafiction ever since Waugh (1984: 113, 145–9). 12. On the careful documentation on which the depiction of Nazi Germany in Le Roi des Aulnes is based, see for example Klettke (1991: 287) and Eickelkamp (2008). 13. Examples of French literature include Littell’s Les Bienveillantes (2007, The Kindly Ones) and Sansal’s Le Village de l’Allemand (2008, An Unﬁ nished Business). For a discussion of further examples, see Hutton (2011) and Silverman (2013). 14. ‘Realist’ interpretations have dominated Tournier scholarship to the present. See for example Maclean’s (2011: 188) claim that ‘Tournier’s narratives are traditional in form, growing out of nineteenth-century realism and naturalism’. 238 Notes

15. See Boulomié’s (1992: 454) suggestion that the self-reflexive features of Tournier’s novels bear witness to his awareness of the formal experimenta- tions of the nouveau roman. 16. As Korthal Altes (1992: 158) observes, the ‘ethos’ of the narrator is unstable in relation to the protagonist. 17. On this authoritative aspect of Tournier, see Korthals Altes (1992: 149–52, 173–4) and Davis (1991: 194–4, 1995a: 159). 18. On Tournier as a reader in Le Vent Paraclet, see Davis (1995a: 164–9). 19. Tournier explicitly keeps a distance from the nouveau roman’s focus on form (for example Klettke 1991: 289), but most often he simply contents himself with asserting something like ‘Me, I’m not part of all that’ (Daly 1985: 412). 20. Tournier recalls Mallarmé’s famous comment that poetry ‘is made with words, not with ideas’, and then asserts, in a Sartrean spirit, that prose, in contrast, ‘begins with an idea’ (MoI: 86–7). He made the same distinction when he spoke to me about the way in which a novelist ‘interprets social phenomena of his own time’ by rewriting cultural narratives (Meretoja 2003). 21. In a letter, dated 4 January 1981, cited by Scheiner (1990: 19). Tournier’s par- ents were Germanists and the family spent the summers in Germany; after the war, Tournier went to study philosophy in Tübingen. On his relation to German culture, see BA. 22. When I asked Tournier whether he feels an affinity with the hermeneutic tradition, he answered: ‘Yes. I have developed my thinking in a dialogue with the tradition of Early German Romanticism’ (Meretoja 2003). 23. On the Romantic idea of literature as a form of knowledge and as a creative synthetic activity, see for example Schlegel (1982), Schelling (1989: 28). 24. For further discussion of this aesthetic tradition and of the intertwinement of aesthetics with different conceptions of truth, see Bowie (1997), Eaglestone (2004b). 25. See Ricoeur (1984, 1991b: 137–155). This is also true of a whole tradition of understanding mimesis more widely than in terms of simple mirroring, which arguably goes back all the way to Aristotle (see Halliwell 2002). 26. On literature opening up new possibilities of being, see also Heidegger (1967: 205), Ricoeur (1991a: 66). The hermeneutic approach to the reading process provides an alternative to psychological and cognitive approaches that focus solely on the reader’s identification with literary characters, and it fits well with contemporary efforts to show how awareness of fictionality is no impediment to but a central part of our engagement with literary texts (see Polvinen 2012). 27. In the original translation, ‘aulnes’ is translated as ‘elms’ but should be ‘alders’. ‘Le Roi des Aulnes’ literally means ‘King of the alders’.

6 Narrative Hermeneutics and Dialogical Subjectivity

1. On interpretation as the most primordial phenomenon in the hermeneutic tradition, see Gadamer (1984: 58–65, 1993a: 339, 1997: 90–92) and Ricoeur (1988: 62). For further discussion, see Meretoja (2014). 2. On the questionability of the opposition between living and telling about it, see Freeman (1993: 108–11) and Kerby (1991: 42–3). Notes 239

3. Moreover, that x is constitutive of y does not entail that y is constituted by x alone; and Ricoeur never suggests that we would be constituted by nothing but narratives. 4. Giddens (1993: 86, 154) and Habermas (1984: 109–10) have argued that the social sciences are characterized, in comparison to the natural sciences, by a ‘double hermeneutic’, as they deal with a ‘pre-interpreted world’. 5. On the selective character of narrating and remembering, see Stierle (2006: 79), Derrida and Stiegler (2002: 63–4). 6. See Koselleck’s (2004: 262) account of how ‘experiences overlap and mutu- ally impregnate one another’ and new hopes, disappointments and expecta- tions have a retrospective effect on past experiences. 7. The most famous of these new autobiographies are Sarraute’s Enfance (1983), Duras’s L’Amant (1984) and Robbe-Grillet’s Romanesques (Le Miroir qui revient [1984], Angélique, ou l’enchantement [1987] and Les Derniers jours de Corinthe [1994]). 8. For a critical discussion of such a ‘binarism of materiality and culture’, rein- troduced to critical theory by ‘new materialism’, see Ahmed (2008: 35). 9. On contestability as essential to narratives, see Phelan (2008). 10. On the interpenetration of past, present and future in mythical thinking, see Cassirer (1964: 111). 11. On the way in which Tournier deals with the bible as mythical material, see Davis (1988: 193), Klettke (1991: 280), Saariluoma (1994: 61–2). I will deal with the modern aspects of Tiffauges’s and the Nazis’ conception of (making) history in Chapter 7. 12. On Romantic irony, see Schelling (1989: 54, 81–2); on the connection between Le Roi des Aulnes and Romantic irony, see Korthals Altes (1992: 205). 13. See Korthals Altes (1992: 208). This pantheistic yearning is linked to the Spinozistic experience of joy. Tournier has expressed his admiration for Spinoza on several occasions, and has associated Vendredi in particular to Spinoza’s Ethics; see WS: 196, Koster (1995: 186), Anquentil and Armanet (2007). 14. For other similar interpretations, see Fischer (1977: 32–6), Wisman (1989), Fabijancic (2004: 81–2), Poirier (2005: 83–4). 15. Interpretations that acknowledge the ambivalence of the final scene include Davis (1988: 61–2), Klettke (1991: 218–20), Korthals Altes (1992) and Barchi Panek (2012: 43). 16. This Nietzschean conception underlies much of poststructuralist thinking; see for example Butler (1990: 142). 17. On Bakhtin’s close relation to hermeneutics, see Gardiner (1992: 99–140) and Pechey (2007: 10, 132–50). On his relevance for the contemporary discussion on narrative identity, see Erdinast-Vulcan (2008). 18. Several scholars (for instance early Bakhtin, Cassirer, Berger and Luckmann) speak of the ‘dialectical’ relationship between the social systems and their individual interpreters, with roughly the same meaning as ‘dialogical’, but Bakhtin (1981: 278, 1986: 147) came to prefer ‘dialogue’ because it is less abstract than ‘dialectic’ and takes cognizance of the role of interacting subjects in the constitution of meaning. 19. As Tihanov (2002: 199, 205–6) argues, in Bakhtin’s book on Dostoevsky (the 1929 edition, cf. Bakthin 1984b) dialogism refers primarily to the human 240 Notes

capability to ‘internalize various alien voices (discourses) and to process them for the purpose of self-enrichment’, whereas in his later writings Bakhtin expands the notion of dialogue to denote human existence in general, laying less stress on the ‘tension-filled encounter’ with others (Bakhtin 1984b: 261, 287). 20. On the polyphony of Tournier’s novels, see Klettke (1991: 73), Korthals Altes (1992: 142–4), Vray (1997).

7 Ethics of Storytelling: History, Power, Otherness

1. The German reception of the novel generally focused on its depiction of Nazi Germany, whereas the French reception took this to be merely one aspect of the novel (Fischer 1977: 59). 2. For example Korthals Altes (1998: 102) maintains that the novel questions such ‘aesthetic appropriation of History’. See also Woodhull (1987: 79), Klettke (1991: 22–3), Petit (1991: 38), Tumanov (1999: 433). 3. For example according to Bouloumié (1995: 140), ‘Tournier interprets Nazism from a mystical perspective, which transcends history and gives the novel its mythic dimension’. See also Cloonan (1995: 145), Gascoigne (1996: 203, 2005), Poirier (2005: 76, 84). 4. This was Cloonan’s (1985: 51) conclusion, and since then, most critics have agreed. 5. On the ‘strong religious aspect of the “heroic” leadership notion’ underlying the ‘Hitler cult’, see also Kershaw (2001: 19, passim). 6. On rituals as a means of legitimation, see Berger and Luckmann (1987: 158–9, 165). 7. In suggesting that Le Roi des Aulnes is a strictly self-referential postmodern novel, a closed system of signs, Bürger (1988: 301–4) problematically identi- fies Tiffauges’s manner of seeing ‘reality as a sign’ with the position of the novel as a whole, and ignores how in fact the novel critically reflects on such a conception of language. 8. See Platten’s (1991: 293–8) analysis of Tiffauges as a Heidegger figure and on Heidegger as ‘the intellectual Ogre par excellence’. Heidegger is one of the philosophers (in addition to Fichte, Hegel, Husserl and Schelling) whom Tournier studied in Tübingen (VP: 86). 9. Price (1999: 155) suggests that ‘Tournier’s Ogre resembles Hegel’s Phenomenology of Spirit, structurally and thematically’. However, as Davis (1988: 200–1) notes, ‘the narrator is careful to attribute the Hegelian rhetoric to Tiffauges [...] rather than adopting it in his own voice’. On Tournier’s critical attitude towards Hegelianism, see also BA: 47. 10. On how aesthetic considerations replace ethical ones in Tiffauges’s interpretative project, see Davis (1988: 204) and Korthals Altes (1992: 72). 11. See for example Gadamer (1997: 269, 299, 358–62). On the ethical and political potential of the hermeneutics of encountering the other, see Taylor (2002), Warnke (2002), Mootz and Taylor (2011). 12. As Tournier asserts, ‘an ogre loves children in order to eat them, not in order to make them happy’ (Meretoja 2003). Notes 241

13. For Watt, the most important modern mythical figures are Faust, Don Juan, Robinson Crusoe and Don Quixote; Tournier’s list is the same but also includes Tristan and Iseult (VV: 31). 14. On the violent aspect of Tiffauges’s ‘private lexicon’, see Horowitz (1997: 181). 15. On the connection to Levinas, see also Korthals Altes (1992: 216) and Platten (1999: 113). 16. In this connection, Levinas (1988, 177) refers to an ‘ideal of saintliness’ that, he claims, ‘is presupposed in all our value judgments’. The Levinasian notion of the face does not refer to a physical face, but Ephraïm’s face, nevertheless, gestures towards an ethical phenomenon similar to this Levinasian notion. On the face, see Levinas (1980: 198–214, 1996a: 17–18). 17. On Friday as a philosophical other, see Saariluoma (1994: 59) and Deleuze (1969). That no psychological or moral motivations are provided for Tiffauges’s sudden ability to relate to the other in a non-selfish way Korthals Altes (1992: 77) takes as an indication of the novel’s character as a fairytale (‘conte de fées’) rather than a psychological novel. To my mind, however, this also foregrounds the novel’s philosophical character. 18. Tournier’s views on the emancipatory significance of distance are close to those developed in the hermeneutic tradition; see note 27 below. 19. See Posthumus’s (2006) overview of recent Tournier scholarship from this perspective. 20. Some scholars seem to dismiss the critical distance between Tiffauges’s and Tournier’s ‘worldviews’. For example Bouloumié (1988: 242) argues that the phrase by Paul Claudel cited in the novel (‘all that happens is raised to the dignity of meaning. Everything is either symbol or parable’, EK: 140) shows Tournier’s orientation ‘towards revelation’, although Tournier convincingly denies this in the interview attached to the end of her book: ‘No, this cita- tion of Claudel applies only to Tiffauges and his mania to see signs every- where’ (Bouloumié 1988: 253). 21. For further discussion of this aspect of the novel, see Eickelkamp (2008: 215). 22. See also Platten’s (1999: 89–91) discussion of these monster myths. 23. For a discussion of the ‘ordinariness’ of the evil underlying the Holocaust, see also Arendt (1994), Bauman (1989) and Browning (1998). 24. Morris (1992: 42) maintains that from the mid-1970s a war was waged against orthodoxy ‘on two separate but related fronts: the Resistance was being hauled down from its pedestal and the Collaboration was being rehabilitated’; Viart and Vercier (2005) situate the ‘return of history’ to the French novel at the beginning of the 1980s. 25. On the dual notion of men themselves making history and of history fol- lowing a ‘secret plan’, a rational, ‘world-historical’ plot, see Lyotard (1991: 67–8), Koselleck (2004: 266) and Ricoeur (1988: 209–10). 26. See Gadamer’s (1997: 9–19) conceptual-historical analysis of the concept of Bildung. 27. On the hermeneutic view of the emancipatory significance of distance and the possible, see Ricoeur (1991a: 35–41, 300), Gadamer (1987: 137, 1993a: 204, 478, 1997: 444–8), Madison (1990: 95–6). For a recent, insightful discussion of narrative imagination, in a spirit that is close to the hermeneutic tradition, see Andrews 2014. 242 Notes

28. Monès (1975: 587); cf. Guichard (1989: 140–42). This is connected to Tiffauges’s fantasy of the ‘original’, hermaphrodite Adam who can make himself pregnant and bear a child in both senses of ‘porter’ (EK: 22–3, RA: 25–6). 29. One passage indicates that Tiffauges violates the physical integrity of the boys by touching their skin with his lips: he first studies the ‘geography’ of their skin hair with a magnifying glass and then notes that ‘you can get to know it immediately – and how much more touchingly! – by brushing your lips rapidly over the skin’ (EK: 274, ‘on peut en avoir une connaissance immédiate – et combien plus touchante! – en passant rapidement les lèvres sur la peau’, RA: 340). This scene alludes to his childhood experience of pressing his lips on the wounded skin of another boy (EK: 20, RA: 23). There is no other evidence that Tiffauges’s physical contact with the boys would go beyond carrying them. 30. See Butler’s (1995: 22) analysis of the ‘melancholic formation of gender’. 31. Ricoeur (1992: 162) borrows the concept of ‘co-author’ from MacIntyre (1984: 212–13, 215), but does not share his belief that ‘stories are lived before they are told’ or his idea of life histories as ‘enacted dramatic narratives’. 32. PL: 15. On the male-centred perspective of Tournier’s discourse, see Lehtovuori (1995). 33. Tournier’s ‘personal mythology’ revolves around mythical characters (including androgynes, twins, male child-bearers), whom he ‘celebrates’ in Célébrations (2000); it includes the essays ‘Christophe, Saint Patron des ogres’ and ‘Porter un enfant’ (To carry a child). ‘Phorie’ is also included in Tournier’s ‘dictionary’ (PL: 149). 34. Atwood’s novel is the second book of the Canongate Myth series, compris- ing rewritings of classic tales. The series itself and its popularity attest to the significance of the literary phenomenon of storytelling as rewriting – or as dialogical intertextuality.

8 Conclusion

1. For her earlier development of this idea, see Nussbaum (1997). 2. On cultural playlisting and how storytelling is redefined in digital cultures, see Collins (2013). 3. Schaeffer (2013: 278), however, develops his account of fiction as ‘a virtual exemplification of a possible being-in-the-world’ explicitly in relation to philosophical hermeneutics. 4. One example of a ‘manifesto’ that sought to provide theoretical grounds for a return to overtly imaginative stories that use suspense plots and elements from detective novels and fantastic fiction is Moreau (1992). 5. Rothberg’s (2009) ‘multidirectional memory’ and Silverman’s (2013) ‘palimpsestic memory’ are recent, insightful proposals for how to rethink – particularly in contemporary multicultural and transnational contexts – literature’s contribution to creating such (Benjaminian) constellations. 6. For my discussion of Hustvedt, Grass and Franck, see Meretoja (2010, 2011, 2014). 7. See for example Hyvärinen et al. (2010), Goldie (2012) and Alber et al. (2013). It should be noted, however, that the Ricoeurean line of the narrative turn has always been critical of the notion of a single life story. Bibliography

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Note: ‘n.’ after a page reference refers to a note number on that page. absolute antiessentialist 2, 114, 117, 162, the Romantic 160–61 225 time 41 antihermeneutic 186 truth 138, 210, 212, 228 antinarrativism, antinarrative 4, 8, 14, Adorno, Theodor 16, 24, 27, 88, 95, 16–17, 23, 31, 43–4, 52–3, 57, 72, 111, 236 n. 7 84–6, 110–11, 113, 118, 121–3, aesthetics 4–6, 47, 50–51, 66, 111, 137, 146, 214, 222, 224, 229 116, 122, 132, 135, 138, antipositivistic 197 140–43, 196, 216, 221, 238 n. 24 antirepresentational 14, 17, 26, 31, of antinarrativism 14, 17, 31, 43, 41–2, 51, 121, 123, 140 44, 137 anthropomorphism, anthropomorphic of autonomy 14, 48–50, 133, 139 72–3, 171, 181 of (dialogical) intertextuality 19, de– 10 121, 136, 144, 220 non– 59, 84 of existence 114, 185 Apollinaire, Guillaime 113 affect, affective 7, 125, 197, 218, 226 Arendt, Hannah 8, 19, 97, 110, 146, agency, agent 1, 6–8, 16, 20–21, 36, 195, 198, 208, 241 n. 23 70, 76, 93–5, 100–2, 107–8, Aristotle 142, 213, 238 n. 25 110, 113, 139, 169–70, 173, Auster, Paul 125, 228 212, 216, 222; see subject Atlas 127, 133, 156, 163, 166 Akker, Robin van der 226–8, 231 n. 6 Atwood, Margaret 125, 211, 228, Allen, Amy 21, 170, 231 n. 3, 232 230, 242 n. 34 n. 18 author 12–14, 44, 46–7, 77, 118, Alter, Robert 233 n. 25 136–7, 142, 173, 193, 196, 205, alterity 80, 186, 191–2, 213; see 208 also otherness; encountering implied 130, 193, 197 the other co–author 136, 142, 208, 242 n. 31 ambiguity, ambiguous 10–11, 21, 26, authorless 185 34, 38–40, 64, 80, 90, 98, 128, autonomy, autonomous 10, 16, 20, 135–6, 162–5, 167, 178, 192, 43, 45–6, 49, 51, 88, 132, 170, 204, 219, 223, 236 n. 5 182, 185, 224; see also aesthetics Andrews, Molly 241 n. 27 of autonomy animal 76, 136 avant-garde 4, 50, 52, 111, 113–15, mythical 121, 124, 126, 140, 209 121, 133, 223, 236 n. 13 self–interpreting 18, 124 storytelling 124, 215 Bach, Johann Sebastian 134 Annalists 106, 229 Bakhtin, Mihail 19, 21, 24, 131–2, anonymity, anonymous 15, 31, 34, 163–4, 167–8, 170, 172–3, 185, 37, 50, 66, 69, 71–2, 83–4, 96, 220, 233 n. 31, 237 n. 8, 239, 102, 108–11, 118, 132, 170, n. 17, 18, 19 222, 224–5, 235 n. 6 Bal, Mieke 5, 24

267 268 Index

Balzac, Honoré 12–13, 48, 60, 65, Camus, Albert 13, 57–8, 60, 67, 71, 70, 89, 90, 104–5, 113–14, 123, 73, 123, 227 173, 228–9 Caputo, John 171 Barbery, Murielle 174–5 Carr, David 147–8, 232 n. 17 Barbusse, Henri 106 carrier (myth) 130, 156–7, 162, Barnes, Julian 227–8 164–5, 173, 204 Barthes, Roland 14, 16, 44, 48, 53, Cassirer, Ernst 24, 139–40, 157, 57–8, 60, 72, 74, 87–8, 112–13, 181–2, 239 n. 10, n. 18 117, 123, 132, 172, 204, 229, causality, causal 6, 9, 12, 41, 57–8, 233 n. 31, 234 n. 10 60, 63–4, 130, 135 Bataille, Georges 14, 25 Cavarero, Adriana 8, 21, 150, 198, Baudelaire, Charles 49, 227 231 n. 3, 232 n. 15, n. 18 Bauman, Zygmunt 161, 212, 236 n. 6 Céline, Louis-Ferdinand 15 Beauvoir, Simone de 73, 98, 107, civilization 102, 116, 172, 191, 123, 213 203–4, 236 n. 5 Beckett, Samuel 13, 15, 71–2, 74, Cloonan, William 236 n. 3, 240 n. 101, 116 3, 240 n. 4 becoming 61–2, 70, 80–81, 84, Cohen-Solal, Annie 110, 236 n. 11 163–4, 185, 206, 222, 224 cognition, cognitive 2, 5–9, 12, 18, Benhabib, Seyla 7, 21, 169–70, 232 54, 63, 87, 101, 125, 139, 140, n. 18, n. 19 145, 176, 193, 196, 207, 223, Benjamin, Walter 1, 100, 242 n. 5 226, 232 n. 17, 238 n. 26 Ben Jelloun, Tahar 123, 173, 210 collaboration 195, 233 n. 26, 241 Berger, Peter & Luckmann, Thomas n. 24 11, 24, 154, 161, 181, 191, 197, Collodi, Carlo 133 239 n. 18, 240 n. 6 commitment, committed literature Bergson, Henri 61 48–9, 52, 199, 228, 235 n. 2; Bernstein, J. M. 100 see also engagement Bildung 204, 213, 241 n. 26 communication 14, 43, 48–50, 52, Borges, Jorge Luis 40 82–4, 92, 100–1, 127, 168, 181, Bottici, Chiara 210 217, 229 Bogue, Ronald 144 consciousness 34–7, 39, 41, 43, Bouloumié, Arlette 26, 126, 150, 55, 65–6, 74, 77, 107, 118, 166, 240 n. 3, 241 n. 20 146, 161, 172, 197, 220, 228, Boyd, Brian 8, 47, 125, 218 234 n. 11, 236 n. 7; see also Blanchot, Maurice 14, 25, 115 self–conscious Braudel, Fernand 106 constituting 15, 68 Brecht, Bertolt 113 hermeneutic 208 Britton, Celia 233 n. 33, 235 n. 2, historical 155 n. 3 stream of 13, 69 Brockmeier, Jens xiv, 232 n. 15, n. context 23, 59, 74–5, 80 95, 168, 22, 235 n. 7 171–3, 196, 223, 236 n. 3, 242 Bruner, Jerome 232 n. 15 n. 5 Bürger, Peter 51, 74, 133, 234 n. 13, historical/social 7, 9, 16, 21, 23, 240 n. 7 194, 225 Butler, Judith 21, 170–71, 206, 231 postwar 52, 86, 116 n. 3, 232 n. 18, 236 n. 15, 239 of reception 121 n. 16, 242 n. 30 recontextualization 26 Butor, Michel 48–9, 62, 231 n. 1 counter-narrative 125, 237 n. 5 Index 269

Coupe, Lawrence 124, 181 disengagement, disengaged 52, 58, Cousseau, Anne 52 67, 70, 76, 92–3, 222 crisis (of storytelling) 1–2, 4, 6, 9, disorientation, disorienting 8, 10, 12–15, 23–7, 53, 65, 68, 70, 76, 13, 15, 27, 32, 38, 48, 52, 61, 84, 100, 106, 117–18, 215–16, 63, 71, 80, 84, 90, 94, 100–2, 220–21, 223, 225–8 105, 108, 111, 118, 223 of humanism 1, 16–17, 86–8, 93, disruption 38, 124, 128 223 n. 28 distance 37, 59, 75, 101, 130, 154, discourse of 215–16 192, 204, 213, 238 n. 18 Crusoe, Robinson 126, 201–2, critical 10, 149, 203, 241 n. 20 237 n. 6, 241 n. 13 emancipatory significance of Cruickshank, Ruth 4, 216 203–4, 241 n. 18, n. 27, 213 Culler, Jonathan 34–5 ironic 130, 136, 154, 173 Don Juan 187–8, 201, 241 n. 13 Danto, Arthur 5, 50 Dorgelès, Roland 106 Dauer, Bernd 115 Davis, Colin xiv, 17, 21, 24, 26, 88, Eaglestone, Robert xiv, 89, 238 n. 24 136, 184, 188, 191–2, 218, 231 Echenoz, Jean 220 n. 2, n. 7, 233 n. 31, n. 32, n. Eco, Umberto 45, 227 34, 238 n. 17, n. 18, 239 n. 11, Eliade, Mircea 157 n. 15, 240 n. 9, n. 10 Elias, Norbert 179–80, 204 Debord, Guy 98 emancipation, emancipatory 16, 91, Defoe, Daniel 126, 171, 237 n. 6 111–12, 115, 118, 171, 177, Deleuze, Gilles 24, 41, 44, 61, 144, 200, 204, 224, 229, 235 n. 1, 172, 241 n. 17 241 n. 18, n. 27 demythologization 113, 181, 212 embodiment, embodied 21, 37–8, denaturalization 113, 117, 202; see 70, 84, 111, 118, 151, 220, 222 naturalization emplotment 19, 70, 141, 148 Derrida, Jacques 16, 44, 51, 80–83, empiricist 72, 74, 85, 111, 117–18, 87, 90–91, 112, 213, 216, 236 197, 222 n. 2, 239 n. 5 empiricist–positivistic 72, 74, 85, desire 21, 26, 54, 150, 161, 185–7, 111, 117–18, 197, 222 193, 198, 201, 210, 215–16, emptiness 51, 66–7, 71, 83–4, 99, 226–8 101, 212, 222 destiny 113, 129, 179–85, 188, 193, encountering the other 142, 171, 195, 207; see fate 186–93, 240 n. 29, n. 11 dialogism, dialogue, dialogical 2, engagement 13, 21, 31, 111, 4, 19–21, 82, 100, 111, 121, 123, 130, 144, 177, 218, 125, 141, 143, 147–9, 159, 162, 226, 228, 238 n. 26; see also 186, 189, 196, 198, 204, 207, disengagement 210, 214, 218–10, 223, 225–6, reengagement with the world 121, 228–30, 242 n. 34, 237 n. 8, 140, 142, 219 n. 9, 239, n. 18, n. 19; see also enlightenment 16, 49, 139, 192 dialogical intertextuality; Erdinast-Vulcan, Daphna 173, 185, dialogical narrativity; dialogical 239 n. 17 subjectivity ethics, ethical 1, 4–6, 9, 12–13, Dilthey, Wilhelm 146 16–17, 21–2, 25–7, 85, 88–9, disenchantment, disenchanted 10, 102–3, 111, 113, 115, 130, 13, 58, 66, 161 135, 138–9, 143, 162, 167, 173, 270 Index ethics, ethical – continued 104–8, 115–18, 123–5, 127–9, 176–7, 181–2, 185–6, 188–99, 132–3, 136–7, 139–50, 153–5, 204, 206–16, 218–20, 224, 228– 157–8, 161, 172, 175, 177, 188, 30, 232 n. 21, 236 n. 2, 240 n. 190, 192, 194, 196–9, 205–6, 10, n. 11, 241 n. 6 209, 212, 215–24, 226, 229–30, antinarrativist 86, 110, 118 239 n. 6 ethical Narrativity thesis 56, 86, of being in the world 3, 22, 52, 199 121, 132, 138, 143, 217, 219, of non-comprehension 86–90 229 of storytelling 177, 207–8 communicability of 1, 100 epistemology, epistemological 5–6, immediate or pure 85, 146–7, 9, 12, 15, 20, 22, 25, 35, 39, 197–8, 224 52–3, 57–60, 62–3, 65, 80–81, of the (Second World) war 2, 66, 84, 86, 90, 102, 118, 124, 138, 94, 99 144–5, 154, 208, 219, 223–4, experientiality, experiential 6, 8, 38, 230, 232 n. 17, n. 21, 234 n. 5, 70, 159, 223, 229 235 n. 4 experimentalism, experimental, Ernaux, Annie 123, 226–7 experimentation 13, 17, 25–6, Europe 1, 4, 9, 13, 22, 27, 63, 67, 31, 42, 48, 52, 118, 121, 175, 70, 79, 116, 183, 187, 231 n. 217 6; see also modern European expression (narrative or literature literature as) 14, 48–9, 51, 58 European humanism 16, 86, 88, self-expression 43, 83, 92, 100, 142 93 evil 143, 151, 163–4, 166–7, 178, essentialism, essentialist 11, 114, 195, 211, 241 n. 23 117, 222 event 5, 7, 19, 33, 38–9, 40–43, 45, Fabijancic, Ursula 205, 239 n. 14 47–8, 50, 53–5, 57, 60–61, 64, fascism 111, 177, 196, 213; see also 69, 84–5, 88, 91, 93, 105, 107, National Socialism 113, 124, 127–9, 135–6, 140, fate, fatality 88, 104, 129–30, 151, 149–50, 152–5, 157–61, 173, 182–4; see also destiny 189–99, 208, 213, 222–3, 228, Faust 187–8, 201, 241 n. 13 232 n. 16 Federman, Raymond 45 connections between events 7, 38, Felski, Rita 218, 233 n. 32 41, 107, 223 Fernandez, Dominique 123, 174, 217 events telling themselves 214, finitude, finite 160, 171 220, 229 First World War 1, 106, 236 n. 10 historical 93, 105, 222, 228 Flaubert, Gustave 49, 51, 60, 235 narrated events 5, 135–6 n. 15 existential 2, 4, 9, 17–18, 27, 126, Fludernik, Monika 6, 35, 38, 70–71, 138–9, 155–6, 159, 161–2, 180, 231 n. 4, n. 8, 232 n. 20, 233 205, 209, 224, 226 n. 30 existentialism, existentialist 17, 53, formalism, formalist 4, 14, 31, 48, 57–8, 66–7, 72, 108, 117, 213, 50–52, 93, 118, 122, 124, 225; see also postexistentialist 137–8, 140, 216–18, 220, experience 1, 5–11, 13, 15, 18–20, Russian 3, 51, 113 22, 26, 35–6, 38–9, 43, 46–8, Foucault, Michel 7, 16, 21–2, 51, 81, 52, 54–7, 59–61, 64–7, 69–72, 87, 95–6, 109, 111, 114, 121, 75, 77, 83–7, 90, 93, 95, 100–1, 185, 233 n. 32, 236 n. 5 Index 271 fragmentary, fragmentation 9–10, 235 n. 10, 236 n. 4, 238 n. 26, 13, 31, 60–61, 65, 68–9, 71, 240 n. 8 100, 160, 227, 232 n. 21 Herman, David 3, 6, 38, 128, 231 n. Franck, Julia 228, 242 n. 6 4, 232 n. 17 Frank, Manfred xiii, 20, 46 hermeneutics, hermeneutic 2, 4, freedom 87–8, 90, 92, 103, 111, 17–18, 20, 26, 132, 140, 144–7, 114–15, 117, 185, 202–4 149, 152, 156, 167–8, 170–72, Freeman, Mark 194, 231 n. 3, 232 n. 176, 185–6, 188–9, 191–5, 204, 15, 235 n. 7, 238 n. 2 208, 213–14, 222, 225, 229, 233 Friedländer, Saul 177, 196 n. 32, 235 n. 10, 236 n. 2, 238 n. 22, n. 26, 239 n. 17, 240 n. Gadamer, Hans–Georg 18, 20, 23–4, 11, 241 n. 27 36, 70, 104, 141–2, 146–7, 152, narrative hermeneutics 9, 18–19, 162, 167–8, 171, 176, 190–92, 21–3, 26, 69, 132, 145–6, 148, 195, 213, 235 n. 10, 236 n. 2, 151, 153–4, 162, 167, 171, 175, 238 n. 1, 241 n. 18, n. 18, n. 212, 221, 225, 229, 232 n. 22 26, n. 27 critical hermeneutics 21, 171, 225, Gaulle, Charles de 182 229, 233 n. 29 Gautier, Théophile 49 phenomenological-hermeneutic Genette, Gérard 123, 214, 229, 231 tradition 5, 9, 19, 21, 70, 72, n. 7, 234 n. 1, n. 6, n. 10 74, 139, 149, 197 geometrical, geometricizing 59, 67, Romantic-hermeneutic tradition 73, 75 137–9, 141, 223 giant 130, 133, 135, 150–51, 162–3, double hermeneutics 149, 239 n. 4 194 triple hermeneutics 149 Giddens, Anthony 10, 102, 161, 232 philosophical hermeneutics 18, n. 4 23, 168, 219, 242 n. 3 Gide, André 49–50 hermeneutic ethics or ethos 185, Glissant, Édouard 210 189, 191, 193, 213 Goethe, Johann Wolfgang von 70, hermeneutic turn 235 n. 10 125–7, 133, 143, 164–5, 188 hero, heroic 19, 40, 61, 70, 110, 116, Goldmann, Lucien 94, 98, 233 n. 129, 157, 161–3, 165, 173, 179, 31, 236 n. 7 188, 200–1, 211, 226, 236 n. Gracq, Julien 17, 123 10, 240 n. 5 Grainville, Patrick 123 choosing one’s heroes 156, 162 Grass, Günter 228, 242 n. 6 heroism 106–7, 117, 178, 196 Greenberg, Clement 50 historic tense (passé simple) 58, 60–61 Grosz, Elisabeth 24, 80, 235 n. 4 history 1, 3, 8–9, 11, 13, 16–18, grotesque 55–6, 163 19–24, 27, 53–4, 57, 61–2, 88–9, 91, 94, 99, 102–11, Habermas, Jürgen 16, 101, 181, 208, 117–8, 121, 134, 153, 155, 161, 236 n. 4, 239 n. 4 170, 177, 183, 185, 193, 196, Heath, Stephen 47, 233 n. 33, 235 219, 221–2, 225–6, 240 n. 2, n. n. 5 3, 241 n. 24; see also metahis- Hegel, G.W.F. 103, 183, 240 n. 8, torical; historical situation; his- n. 9 torical event; world–historical Heidegger, Martin 10, 15, 18–19, historical novel 123, 129 74–6, 139, 146, 153, 155–6, literary 3–4, 22, 26–7, 60, 201, 162, 170–71, 183, 233 n. 28, 215, 219, 231 n. 8, 233 n. 34 272 Index history – continued individual 7, 10, 13, 21, 66, 69–70, making 13, 102–4, 111, 155, 195, 92, 95–6, 98–100, 103, 108–10, 239 n. 14, 241 n. 25 131, 137, 156–7, 161, 172–3, and myth 177, 193–5, 240 n. 3 175, 182, 186, 188, 200–4, 206, philosophy of 5, 53, 105, 208, 224, 228–9, 236 n. 5, 239 183, 229 n. 18; see also subject Horate 49 character 31, 36–8, 109 horizon 36, 48, 84, 100, 102, 133, modern 9–12, 63, 71, 158–60 146, 149, 153, 155, 222 subject 20, 35–7, 70, 72, 95, 111, of expectation 121, 129, 155 162, 167, 169–70, 176, 225 of experience 117, 128, 209 individuality 66–7, 92, 108–9, 188 of interpretation 18, 142, 147, 194 individualism 71, 117, 187–8 of meaning 10, 73, 223, 228 infinity, infinite 160–1; see also temporal 107, 223 finitude, finite Horkheimer, Max 16, 88, 95, 109 instrumentalization, instrumental Houellebecq, Michel 175, 228 reason 10, 101, 188, 215, 218 Hugo, Victor 105 interpretation 4, 9, 14, 18, 20, 23–4, Humanism 67, 87, 224; see also 26, 31, 36, 38, 46–7, 52, 65, 73, crisis of humanism; European 75, 78–9, 81–2, 106, 126, humanism 129–32, 135–7, 139, 141–2, 144, Hume, David 69 146–51, 154, 160–62, 167–73, Hussards 123 175, 188–90, 193, 196–7, 199, Husserl, Edmund 15, 19, 65–8, 73–5, 211–14, 217, 225–6, 229–30, 77–8, 80–81, 84, 136, 235 n. 235 n. 10, 238 n. 1, 240 n. 10, 240 n. 8 10; see also horizon of inter- Hustvedt, Siri 229, 242 n. 6 pretation; self–interpretation; Hutcheon, Linda 134 world–interpretation Hyvärinen, Matti xiii, 231 n. 4, 242 allegorical 63, 211 n. 7 metaphysical 63 mythical 185, 191, 194, 196 identification 131, 154, 158–9, 161, narrative 2, 6, 14, 18–19, 21, 31, 196, 225, 238 n. 26 69–70, 84–5, 118, 132, 134, identification-with 156–8, 174, 180 136–8, 142–3, 145, 147–9, identity 4–7, 10–11, 18–19, 21–2, 58, 153–4, 158, 197, 199, 208, 66, 71, 93, 102, 126, 128, 130, 213–14, 221–4 143, 149–50, 156–7, 161–2, interpretative continuum 149, 222 166, 169, 173–5, 180, 185, 188, interpretative instance 38, 70 194–6, 201, 205–6, 210, 223–4, interpretative strategies 31, 235 n. 7; see also subject; self 34–5, 39 individual 10 intentionality 8, 65, 67 mythical 130, 179 intersubjectivity, intersubjective 7–8, narrative 7, 11, 69, 101, 106, 143, 20, 69, 92–3, 100–1, 110, 132, 153–9, 162, 177–8, 180, 182, 168–9, 178, 205, 207–8, 223, 185–7, 198–9, 207–8, 211, 223, 225, 229 232 n. 19, 239 n. 17 intertextuality, intertext 19, 121, personal 7, 69, 180 125–6, 130–34, 136, 143–4, imagination 8, 39, 123–4, 143, 160, 172, 174, 182, 226, 237 n. 6, 218, 221 n. 8, n. 10 narrative 108, 124, 215–16, 241 dialogical 121, 131–7, 144, 214 n. 27 Irigaray, Luce 16 Index 273 irony, ironic 26, 61, 103, 110, 183, 139, 150–53, 156–7, 159–61, 191, 193, 220, 225–8 163, 168, 173, 185, 190, 210, ironic distance 130, 136, 154, 173 236 n. 12 metamodern 227–8 connectedness of 146 postmodern 226–7 literary 140, 218, 232 n. 11 romantic 160–61, 239 n. 12 in relation to narrative 12, 19, self-irony 137, 209 53–4, 71, 85–6, 95, 100, 129, 147–9, 175, 198–9, 226–7 Jameson, Fredric 91, 233 n. 31 -narrative 10, 110, 184 Jefferson, Ann 108, 237 n. 3 -story 12, 14, 70, 95, 147, 151, Joyce, James 14, 50, 131 169–70, 173, 175, 185, 208, 226, 229, 242 n. 7 Kafka, Franz 14, 63, 71, 101, 108, -world 10, 133, 142, 237 n. 4 116, 131 Littell, Jonathan 237 n. 13 Kant, Immanuel 49, 139 Locke, John 69, 73 Kearney, Richard 101, 231 n. 3 Lukács, Georg 95, 98, 233 n. 31, 236 Klepper, Martin 231 n. 7, 232, n. 19, n. 4 235 n. 7 Lyotard, François 10, 17, 61, 189, Klettke, Cornelia 26, 126, 133, 237 241 n. 25 n. 17, 238 n. 19, 239 n. 11 n. 15, 240 n. 20 Maalouf, Amin 181, 210 Kojève, Alexandre 108 machine 10, 63, 76, 93–6, 98; see Korthals Altes, Liesbeth 26, 126, mechanical 129–30, 164, 172, 192, 231 n. textual 43–6 2, 233 n. 31, 237 n. 7, n. 10, war 118 238 n. 17, 239 n. 12, n. 13, n. MacIntyre, Alasdair 124, 198–9, 231 15, 240 n. 20, n. 2, n. 10, 241 n. 3, 232 n. 14, n. 17, 233 n. n. 15, n. 17 24, 242 n. 31 Koselleck, Reinhart 155, 239 n. 6, Mäkelä, Maria xiii, 234 n. 7 241 n. 25 Mallarmé, Stéphane 49–51, 138, 238 Kristeva, Julia 113, 121, 131–2, 198, n. 20 218, 237 n. 1, n. 8 Mallet-Joris, Françoise 123 Kundera, Milan 218 Marcuse, Herbert 109 Margalit, Avishai 161 labyrinth 33, 40–44, 47–8, 52, 63, Mann, Thomas 70, 157–8, 188 69, 80, 90, 96, 98, 101–2, 111, masculinity 205–6 116, 132, 223, 230 maternity, maternal 165, 205 decentred 63, 116, 132, 236 n. 14 McHale, Brian 35,63, 231 n. 6, 232 temporal 40–1 n. 12, 234 n. 5 textual 41, 48, 52, 90 meaning 10, 15–16, 26, 36, 43–4, Lacoue-Labarthe, Philippe 180 46–8, 51, 53, 58–9, 63, 66–7, Lambron, Marc 25 70, 72–7, 78–9, 82, 84–5, Le Clézio, J.-M.G. 123, 138, 173–4, 89–90, 92–3, 99–100, 105, 109, 181, 210 112, 115–16, 121, 135, 139, Levinas, Emmanuelle 16, 87–9, 142–3, 147, 153–4, 157–8, 160, 185, 189–90, 213, 241 n. 15, 168, 173, 179, 188, 193, 198–9, n. 16 205, 207–8, 210, 223, 228, 230, Levi-Strauss, Claude 62 233 n. 32, 235 n. 1, n. 3, 236 life 12–13, 16, 55, 60–61, 63, 65–6, n. 2, n. 10, 239 n. 18; see also 105–6, 112, 114, 123, 127, 130, meaningful order 274 Index meaning – continued European literature 9, 22, 63, 67, meaningful connections 5, 57, 61, 79, 187, 201 64–5, 69, 72, 84, 107, 148–9 individual 9–11, 63, 71, 158–60 meaning-giving 15–16, 18, 36, novel 1, 11, 47, 60, 62, 70, 79, 54–5, 73, 77–8, 80–81, 85, 114, 187, 215 146, 208, 222 society 13, 71, 95–6, 98, 109, 111, meaning-object (noema) 80–81 159, 178, 223 narrative 15, 58, 61, 132 subject 9, 71, 88, 96, 100, 107 sub-universes of 11, 161 modernism, modernist 12–15, 25, systems of 20, 86–7, 89, 162, 212 35, 38, 41, 47–50, 55, 66, mechanical 94–8, 101, 111, 170–71, 70–72, 108, 131, 223, 231 n. 6, 175, 210; see also machine 232 n. 12, 234 n. 13 memory 7, 10–11, 34, 39, 69–71, 82, modernity 10–11, 16, 48, 66, 79, 96, 146, 151–2, 162, 174–5, 180, 180, 182, 197, 212, 226 192, 201, 235 n. 7, 242 n. 5 modernization 10–11, 95 cultural 194–5, 218 Modiano, Patrick 123, 138, 201 Merleau-Ponty, Maurice 15, 66–7, Monès, Philippe de 205, 242 n. 28 73, 77, 101, 235 n. 6, n. 10, monological 131, 173, 189, 206, 236 220; see also dialogical metafiction (historiographic) 124, monster 57, 128, 194–5, 241 n. 22 237 n. 11 Morrissette, Bruce 31, 33–4, 74, 234 metahistorical 155 n. 1, n. 3, 234 n. 5 metalepsis, metaleptic 39, 64 Morson, Gary 105 metamodernism 2, 226–8, 231 n. 6 Musil, Robert 12, 55, 71, 199 metanarrativity, metanarrative 2–3, myth, mythical, mythological 11, 41, 122, 126, 131, 137, 143, 17, 26, 106, 113, 117, 124–34, 150, 207, 210, 219, 226–9, 231 136, 138, 142–3, 146, 150, n. 5 154–67, 172, 174, 177, 182, metaphysics 63, 75, 138, 180 184–8, 191, 193–8, 200–1, 204, Millet, Richard 217 207–13, 220, 223–5, 228, 237 n. Mink, Louis 5, 53–4, 84, 146–7, 229, 4, n. 7, 239 n. 10, n. 11, 240 n. 232 n. 17 3, 241 n. 13, n. 22, 242 n. 33, minotaur 133, 163 n. 34; see also demythologiza- model 7–8, 11, 18, 21, 66, 73, 96, tion; mythical animal; mythi- 134, 156, 169, 201, 204–6, cal identity; mythical model; 210, 213, 219–20, 227–9; see mythical narrative sense-making of naturalness 111–13, 193, 220, (cultural) narrative 2, 19–20, 224 130–31, 138, 149, 157–8, 159, mythopoetic 124, 131, 138–9, 162, 170, 172, 196, 200, 202, 161, 181, 209, 230 204, 207, 214, 224–5, 230 of interpretation 125, 138, 158, Nancy, Jean-Luc 180 220, 223 narrative, narrativity 1–27, 31–2, mythical 124, 138, 150, 156, 158, 34–5, 37–8, 40–43, 48, 51, 180 53–8, 60–61, 64, 69–70, 84–6, modern 18, 49, 53, 69, 74, 88, 96, 88–9, 92, 100–1, 106–7, 103, 105, 108, 139–40, 155–7, 112–13, 117–18, 122–9, 132, 161, 188, 195, 207, 210–12, 136–8, 140, 143, 145–50, 154, 225–8, 230, 239 n. 11, 241 n. 13 156, 159, 167–73, 177, 185, 188, Index 275

196–200, 204, 207–9, 211–16, 152, 155, 173, 209, 220, 226–7, 218–30, 231 n. 5, n. 7, n. 8, 229; see also self-narration n. 9, 232 n. 16, n. 17, 233 n. first-person 32, 128, 159 30, 239 n. 3, n. 9; see also anti- third-person 32, 34, 60, 128, 130, narrativism; counter-narrative; 135–6, 159 life in relation to narrative; life narrativization 14, 19, 22, 31–2, 35, narrative; narrative connec- 39, 43, 48, 56–7, 59, 64–5, 72, tions; narrative hermeneutics; 84, 86, 185 narrative identity; narrative narratology 5–6, 34, 123, 131, 229, imagination; narrative inter- 231 n. 5, n. 7, 232 n. 16 pretation; narrative meaning; nar- unnatural 8, 232 n. 20, n. 21, 234 rative models; narrative order; n. 1 narrative perspective; narrative narrator 3, 48, 58, 60–62, 66, 76–7, possibilities; narrative process; 79, 87, 105, 118, 153, 159, 208, narrative self-interpretation; 212, 214, 226–8 narrative self-reflection; nar- in Dans le labyrinthe 3, 32–40, rative sense-making; narrative 45–7, 64, 68–9, 92, 234 n. 3, subjectivity; narrative voice; n. 4 narration; narrativization; nar- in Le Roi des Aulnes 129–30, 135–6, rator; storytelling; violence of 172–3, 193, 197, 205, 238 n. narrative 16, 240 n. 9 competence 107 National Socialism, Nazism, Nazi cultural, culturally mediated Germany 130, 134, 143, 18–20, 125–6, 130–1, 137, 145, 153–4, 159, 165–6, 177–86, 147, 149, 158–9, 161–2, 167, 188–9, 193–8, 210, 213, 237 n. 172, 174, 176, 178–9, 181, 12, 239 n. 11, 240 n. 1, n. 3; 197–8, 200–2, 204, 207, see also fascism 209–12, 214–15, 219, 223–7, nature, natural, naturalness 10, 229–30, 237 n. 7, 238 n. 20 16–17, 73, 64, 84, 88, 98–9, dialogical narrativity 21, 23, 104, 113–14, 116–17, 160, 176, 167–70, 220 181–2, 191, 202, 207, 210, frame narrative 32, 35, 207 224–5; see also myth of logic 43, 102, 129, 104, 220, 222; naturalness; natural order see also logic of storytelling naturalism 54, 237 n. 14 mythical 140, 154, 156, 159, 160– naturalization, naturalize 14, 61, 180, 188, 193, 208, 223, 230 35, 39, 113; see also schemes 10, 129, 209 denaturalization turn 2, 5, 9, 17, 20–21, 23, 25–7, Ndiaye, Marie 220 53, 122, 126, 131–2, 135, Nietzsche, Friedrich 10, 15, 61, 66, 142–4, 145, 150, 153, 167, 201, 80, 85, 87, 90, 114, 116, 139, 207, 209, 213–15, 217, 219–27, 167, 181, 185, 227, 239 n. 16 229–30, 231 n. 4, n. 9, 242 n. non-comprehension 60–61, 89–90, 7; see also return of storytelling 118 unconscious 194 ethics of 86, 224 webs of 146–7, 149, 153, 169, 215, nouveau roman 1, 4, 12, 14–17, 25–6, 228–9 31, 34, 38–9, 42–4, 47–53, narration 3, 32–7, 39, 41–2, 45, 48, 57–65, 67–8, 70–72, 74, 76–80, 60–61, 64–5, 67, 69, 72, 76, 84, 86–9, 93, 97, 100, 102, 98–9, 112, 128, 140, 147, 149, 104–5, 108–9, 111–18, 121–4, 276 Index

127, 135, 137–9, 145, 151, 153, 132, 147, 154, 168, 171–3, 155, 160, 173, 190, 212, 217, 175–8, 185–93, 195, 206–8, 220, 222–5, 231 n. 1, 233 n. 2, 213–15, 223–5, 240 n. 11, 241 236 n. 15, 238 n. 15, n. 19 n. 17 Novalis 139, 160 Nünning, Ansgar 231 n. 5, 232 n. pantheism 161, 239 n. 13 18, 233 n. 30 Paulhan, Jean 106 Nussbaum, Martha 8, 124, 215–16, Pavel, Thomas 218 233 n. 30, 242 n. 1 perception 11, 15, 18, 23, 36–9, 58, 65–71, 73, 80, 83, 111, 117, objectification, objectifying, objective 143–4, 149, 153, 221–3, 235 n. 5 12, 36, 47, 59, 65–6, 68, 74, visual 74–6, 79, 84, 118, 146, 224 76, 78, 91–2, 94, 101, 105, 112, subject of 7, 37–9, 81; see also 142, 160, 188, 214 perceiving subject Occupation 93–4, 99, 106, 195, 201 Perec, Georges 123, 218, 228 openness 173, 185, 191, 206, 212, 214 Perrault, Charles 133, 167 hermeneutic 189, 192, 213 perspective 6, 8, 59, 66, 76, 84, ogre 127–30, 133, 156, 162–3, 93, 99, 107, 129, 136, 150, 186–7, 190, 193–5, 204, 240 n. 172–3, 189, 190, 196, 203, 209, 8, n. 12 211–13, 220, 222, 228, 235 n. ontology, ontological 2, 5–6, 9, 11, 6, 242 n. 32 20, 22, 25, 41, 48, 63, 65, 73–6, hermeneutic 145–6, 171, 213 81, 84, 102, 115, 124, 136, 138, narrative 45–8, 77, 99, 105, 171, 144–5, 147, 152, 154, 161, 176, 194, 211 181, 198, 207, 219, 221–7, 230, of others 191, 193, 206, 208, 214 232 n. 17, n. 21 perspectivism, perspectival 154, dynamic 15, 61, 80, 84–6, 112 173, 214, 229 of emptiness 67, 84 perspective-taking 209 instability 35, 39, 42, 64, 234 n. 5 Petit, Susan 26, 126, 134–5, 166, 237 ontological turn 18 n. 6, 240 n. 2 ontological assumptions, Phelan, James 24, 34, 232 n. 15, 239 commitments or underpinnings n. 8 15, 52–4, 57–8, 62, 80, 85–6, phenomenology, phenomenological 118, 145, 197, 222, 235 n. 4 15, 25–6, 53, 65–9, 72–8, 80, order 10, 14, 19, 39, 41, 48, 58, 87, 84, 117, 235 n. 5, n. 6, n. 10, 89–90, 97–9, 102, 113–17, 236 n. 11; see also phenomeno- 140–41, 149, 181, 191, 196, logical-hermeneutic tradition 201–2, 208–9, 220, 224, 232 n. 23 postphenomenological 15, 62, narrative 9, 12, 53, 55, 63, 65, 79, 76–7, 80, 84, 89, 90, 117, 222 85, 112–17, 140, 148, 199, 222, Phillips, Caryl 228 224 phoria 127, 134–5, 151, 156, 163–4, natural 12, 112–13, 116 166, 178, 184, 188, 194, 206 meaningful 5–6, 10, 15, 17, 19, photography 39, 160, 164, 186 53–4, 62, 67, 72, 78, 81, 88, phronesis 213 90, 105, 111, 113, 117–18, 139, Plato 11, 79, 138, 210 146, 159, 206, 222–4, 230 Platten, David 240 n. 8, 241 n. 15, n. 22 Orr, Mary 132, 144 positivism, postivistic 15, 76, 84–5, other, otherness 3, 5–9, 18–19, 22, 93, 146, 235 n. 10; see also 69, 81, 84, 89, 91, 93, 100–2, empiricist–positivistic Index 277 possibilities (of being, acting, experi- historical 103, 105, 114 195 encing) 142–3, 146, 171, identity or subject as processual 2, 203–4, 218, 220, 224, 238 n. 26 11, 20, 80, 162, 173, 222, 225 grasping one’s 18, 156 of (narrative) (re)interpretation or literature as exploration of 204, sense-making 2, 8, 20, 72, 80, 217–18, 220, 224, 238 n. 26 114, 131–2, 136–7, 139, 143, of moral agency 6, 110, 173, 193 145–51, 153, 156, 167, 169, narrative 101 176, 219, 223, 230, space of 155–6, 219 Proust, Marcel 12, 15, 38, 41, 70, postexistentialism, postexistentialist 88, 131 17, 58, 117, 212, 222 postmodern, postmodernism 3, quest 157–9, 161, 188, 199 25–6, 35, 38, 45, 123, 212, 220, novel 126, 129, 131 225–6, 228, 231 n. 6, 232 n. 12, 240 n. 7 Rabelais, François 133 poststructuralism, poststructuralist Rabinowitz, Peter J. 24, 232 n. 16 1, 15, 20, 26, 43–5, 53, 55, 62, Rancière, Jacques 144 77, 80, 83, 90, 93, 113, 117, rationality, rational 16, 62, 66, 138, 171, 225, 231 n. 7, 233 n. 101–5, 110, 139–40, 170, 183, 32, 239 n. 16 215, 241 n. 25; see also reason power 10, 13, 20–21, 67, 87–9, 98–9, rationalism 62 112, 115, 127, 129, 136, 140, rationalization 95, 97 142, 154, 159–60, 164, 168–71, reader 12, 14, 34–9, 43, 47, 50, 58, 177–8, 183–4, 188, 198–9, 209, 61–3, 69, 71, 80, 90, 98, 110, 211–12, 214, 229–30, 237 n. 3 113–14, 118, 121, 129–31, relations of 21, 88, 109, 143, 169, 134–7, 142, 150, 154, 161–2, 229 164, 167, 173–4, 191–4, 196, emotional 180, 196, 198 206–7, 209, 211, 214, 219, 229, powerlessness 10, 13, 15, 63, 71, 237 n. 7, 238 n. 18, n. 26 89–90, 93, 155 reader’s engagement 14, 31, 41, premodern 7, 11, 155–8, 161, 208, 48, 196, 224, 226 233 n. 24, 237 n. 4 implied 194 presence-at-hand (Vorhandenheit), readiness-to-hand present-at-hand (Zuhandenheit) 75 (vorhanden) 75–6, 188 realism 14, 17, 38, 41, 47, 50, 62, pre-understanding 147, 152–3, 188, 78, 103, 121, 126, 128–31, 135, 190 139, 220, 232 n. 12 Price, David 240 n. 9 Balzacian 12–13, 48, 60, 65, 70, Prince, Gerald 231 n. 2, n. 5 114, 123, 173, 228–9 process 1, 3, 10–11, 14, 18–22, 24, new 14, 62 32, 34, 38–9, 45, 47–50, 55, 57, reality 2, 6, 12–16, 22, 35, 39, 41, 61–2, 66–9, 70, 78, 80–81, 84, 43, 47, 49–50, 52–3, 57–67, 93, 98, 113, 128, 130, 137, 140, 72–4, 77–80, 85–8, 98–100, 142, 147, 152, 159, 161–2, 168– 102, 104–7, 110–11, 117, 122, 76, 185, 198–201, 204, 207–9, 129, 131, 134, 136, 140–41, 211, 213–14, 217, 221, 223–4, 153–4, 157, 160, 168, 179, 183, 226, 232 n. 17, 238 n. 26 190, 193, 195, 207–8, 214, 217, of becoming 70, 81, 164, 185, 220–22, 230, 233 n. 25, 234 n. 206, 222, 224 11, 240 n. 7 278 Index reality – continued n. 7, 238 n. 25, n. 26, n. 1, 239 experiential 159 n. 3, 241 n. 18, n. 25, n. 27 human 5, 54, 145, 154, 181 Ritivoi, Andreea Deciu 232 n. 15 n. non-narrative nature of the 17, 233 n. 29, n. 32 real 15, 54, 59, 61, 63, 73, Robbe-Grillet, Alain 1, 4, 13–14, 16, 84–6, 118, 222 23, 25–7, 31–52, 58–79, 81–3, the flux of the real 15, 54, 80, 85, 87–118, 123, 132–3, 136, 112, 222 138, 152–3, 195–7, 217, 222, reason 16, 87–8, 160, 183, 213, 235 231–7 n. 5 Dans le labyrinthe 4, 23, 27, 31–47, instrumental 10, 218 51, 63–4, 68–71, 75–6, 78–83, practical 75, 213 92–101, 103–5, 107–110, 116, refiguration 149, 162 132, 152–3, 183, 195, 223, 232 reflection 2–3, 25, 67–8, 77, 150, n. 12, 234 n. 12, 236 n. 9 183, 188, 207, 217, 224, 229; Djinn 42, 46, 61, 83, 95 see also self–reflection Glissements progressifs du plaisir 45 reification 93–4, 98, 110–11, 177, Les Gommes 13, 74, 95, 138 181–2, 193, 197, 211, 236 n. La Jalousie 35, 95, 108, 231 n. 1 4, n. 7 La Maison de rendez-vous 45, 91, 123 reinterpretation 2, 9, 18–19, 24, Le Miroir qui revient 51, 58, 63, 72, 125–6, 131, 137, 140, 142–3, 79, 87, 92, 96, 112, 153, 235 146–53, 156, 162, 168–71, 174, n. 15 176, 208, 210, 212, 221, 229– Pour un nouveau roman (For a New 30; see also interpretation Novel) 14, 31, 41–2, 44–6, relationality, relational 7, 20–21, 220 48–52, 59–60, 62, 65, 67, 72–4, repetition 44, 80, 98, 134, 155–7, 89, 96, 104, 111, 113–15, 117, 170–71, 206 235 n. 15, n. 3, n. 5 representation, representationality 3, Préface à une vie d’écrivain 60–62, 12–14, 16, 35–7, 39, 41–3, 45, 65, 116 50–51, 54, 88, 91–2, 105–6, Projet pour une révolution à New 129, 134, 221, 233 n. 28, 236 n. York 76, 108 11; see also antirepresentational Un Régicide 60 resistance 32, 81, 91, 94, 98, 117, Topologie d’une cité fantôme 109, 170, 192, 195, 204, 222, 224, 234 n. 9 241 n. 24 Le Voyeur 60, 76, 82, 98–9 responsibility, responsible 90, 97, Le Voyageur 41, 44–5, 48, 51, 58, 110, 155, 157, 173, 180–82, 60, 65–7, 77–9, 88–9, 111–12, 185, 189–90, 196, 198–9, 207, 114–17, 234 n. 11, n. 12 216, 224, 236 n. 6 Rochefort, Christine 123 revolution 99, 105, 121, 216 Romanticism, Romantic 47, 67, 70, Ricardou, Jean 44, 72, 111, 121, 234 125, 137, 139, 142–3, 159–61, n. 11, 235 n. 3 165, 188, 226, 238 n. 23, Richardson, Brian 25, 232 n. 21, 234 129 n. 12; see also Romantic- n. 6 hermeneutic tradition Ricoeur, Paul 8, 19, 26, 124, 132, Early German 139, 159, 236 n. 12, 140–42, 146–9, 153, 155–6, 238 n. 22 162, 171, 181, 198–9, 204, 207– Rouse, Joseph 75 8, 217–19, 231 n. 3, 232 n. 14, Rousseau, Jean-Jacques 12, 70, 125 n. 15, n. 17, n. 19, 242 n. 31, Roussel, Raymond 45 Index 279

Rothberg, Michael 242 n. 5 self-understanding 7, 12–14, 19, 27, ruins 16, 115–6 53, 101, 122, 138, 146, 149, Ryan, Marie-Laure 2, 232 n. 16, 234 152, 191, 195–6, 217–20, 229 n. 7 of the nouveau roman 51–2, 58, 112, 118 Saariluoma, Liisa (Steinby) xiii, 12, self-conscious 24, 26, 70, 233 n. 31, 234, n. 5, forms of narrative or literature 2, 237 n. 6, 239 n. 11, 241 n. 17 12, 46, 130, 135, 215, 219–20 Sabot, Philippe 24 myth 209–10 Said, Edward 228 subject 170 Sallenave, Danièle 123, 142, 217–18 self-narration 11, 15, 150, 199, 208 Sansal, Boualem 237 n. 13 Semprún, Jorge 17, 123, 221 Sarraute, Nathalie 1, 13–14, 49–50, sense-making 10–11, 20, 72, 81, 92, 61–2, 77, 111–12, 115, 231 n. 118, 148, 230; see also process 1, 234 n. 11, 239 n. 7 of (narrative) sense-making Sartre, Jean-Paul 13, 15–16, 25, 48–9, (cultural) models of 2, 20–21, 124, 52–3, 55–8, 60, 65–7, 71, 73, 131, 159, 161–2, 168, 175–6, 99, 108–10, 116–17, 123, 133, 200, 207–8, 211–12, 214, 223, 199, 213, 228, 235 n. 2, 236 n. 230 11, 238 n. 20 narrative 1, 7–8, 21, 27, 48, 57, 65, Sartwell, Crispin 146, 149, 233 n. 70, 74, 84, 93, 111, 124, 139, 30, 235 n. 1 162, 167, 209, 219–20, 222–4 Schelling, F.W.J. von 139, 157, 160, practices 9, 46, 80, 149 161, 186, 239 n. 12, 240 n. 8 Silverman, Max xiv, 242 n. 5 Schiff, Brian xiv, 232 n. 15 Simon, Claude 1, 44, 48–51, 60–61, Schlegel, Friedrich 139, 160, 238 72–3, 75–8, 87, 105–6, 112, n. 23 115, 153, 218, 234 n. 11 Schopenhauer, Arthur 66 singularity 24, 80, 89–93, 188, 213 Second World War 1–2, 4, 13, 16, situation 3, 6, 11, 35–6, 38, 40, 44, 26–7, 66, 87, 93–4, 99, 108, 51, 71, 79, 89, 93, 96, 99, 101, 116, 127, 129, 194–5, 228, 238 111, 116–17, 128, 149, 154–5, n. 21; see also war 162, 167, 172, 175, 188, 191, Seigel, Jerrold 7 205, 209, 211, 213, 215, 217, self 6–8, 26, 66, 84, 114, 149, 167–8, 226–9 175, 185, 204, 223 interpretative 20, 23 self-interpretation 11, 18–19, 54, 85, in the world 2, 14, 52, 58, 62–3, 137, 142, 145, 185 67, 132, 228 narrative 16, 152–3, 198–9 historical 9, 93, 168, 171, 197, self-referentiality 26, 44, 51, 124, 219, 225 131, 218, 240 n. 7 postwar 52, 107 self-reflection, self-reflective, self- soldier 4, 27, 32–40, 42, 45, 52, reflexive 7, 10–12, 15, 18, 20, 68–71, 75–6, 79, 81–3, 90–101, 23, 45, 66, 70–71, 94, 98–9, 103–5, 107–11, 116, 152, 165, 101, 128, 130–31, 133–4, 137, 178, 223, 234 n. 3 154, 174, 191, 198–9, 208–9, Sollers, Philippe 51, 113, 121, 237 214, 229, 238 n. 15 n. 1 metanarrative 3, 41, 131, 150, Spinoza, Benedict de 138, 239 n. 13 219, 226–9 Steinby, Liisa (see Saariluoma, Liisa) narrative 12, 70, 108 Stendhal 104 280 Index

Stierle, Karlheinz 152, 239 n. 5 narrating 7, 132, 137 storytelling 1–2, 6, 8–9, 11–12, narrative 6, 10, 19–20, 118, 14–19, 21–2, 26–7, 31, 41–2, 162, 178, 207–9, 225, 230, 232 47–8, 55, 58, 61, 70, 92–3, n. 19 121–7, 136, 140, 143, 146–8, perceiving 25, 36–7 150, 173, 176–7, 188, 196, 198, speaking 27, 46, 83 207–12, 214–17, 219–21, 227–8, 233 n. 24, n. 33, 242 n. 34, n. Tammi, Pekka xiii, 8 2; see also story; storytellers; Taylor, Charles 11, 18–19, 102, 124, storytelling animal 169, 172, 198, 213 n. 2, 232 n. crisis of 2, 4, 9, 13, 15–17, 19, 53, 17, n. 23, 233 n. 24, n. 29, n. 63, 65, 68, 72, 76–7, 84, 93, 32, 240 n. 11 100, 117, 215, 220, 223, 227–8 Tel Quel 14, 17, 25, 43–4, 113, 121, logic of 93, 41 123, 137, 237 n. 1 return of 1–2, 4, 6, 9, 17, 25, 27, temporality, temporal 2, 19, 29–41, 122, 126, 131, 143, 153, 54, 61, 70, 79–81, 88, 107, 110, 216–17, 220, 228–9 142, 145–8, 150, 153, 158, 164, story 11–12, 14, 19, 31–4, 39–42, 167, 171, 175–6, 221, 223–5, 47–9, 71, 86, 92–3, 107, 116, 234 n. 6; see also time 124–6, 133, 138, 148, 151, 185, temporal process 10–11, 18–20, 198, 208, 211, 216, 227, 230, 69, 84, 150–51, 156, 159, 162, 234 n. 6, 237 n. 4 176, 185, 213, 223–4 soldier’s 33, 35, 38, 92, 234 n. 3 spatio-temporal 39, 67–8 storytellers 173, 209 tense (historic or present) 51, 58, new 26, 118, 122 60–61 Strawson, Galen 53–4, 56, 84–6, 146, textualist 17, 19, 25–6, 31, 45, 123, 153, 197, 199, 222 132, 220, 228 structuralism, structuralist 3, 14–15, Theseus 133 17, 19–20, 43, 51, 62, 92, 123, thing-like 76, 92, 94, 107, 111 131–2, 140, 182, 217 Tihanov, Galin 239 n. 19 Sturgess, Philip 34, 42 time 7, 11, 40–41, 66, 68–70, 72, subject, subjectivity 1–17, 19–27, 31, 79–80, 82, 100, 103–7, 145–6, 35–9, 43, 46–7, 51, 53, 58, 61, 149–50, 153, 156–7, 221, 223; 65–76, 78–81, 83–4, 88, 92–6, see also temporality, temporal 98–102, 107, 110–11, 113, experience of 147, 153, 158 117–18, 121, 128, 132–3, 136– mythical 157–8 7, 139, 144–5, 147, 150–53, narrated 40 155, 161–2, 164, 167–71, 73, Todorov, Tzvetan 51, 132, 217–18 175–8, 181–3, 185–6, 191, 195– Tolstoy, Leo 104–5 7, 199–201, 203, 206–8, 212, totality 159–61, 179 214, 218, 220, 222–5, 229–30, totalitarian 89, 154, 159, 203 233 n. 28, 235 n. 6, 239 n. 18; Tournier, Michel 4, 20, 23, 25–7, see also agent; individual; self 121–31, 133–43, 150–54, action-oriented 76 156–67, 171–3, 177–213, 222, death of the subject 1, 51, 225 226, 232 n. 11, 233 n. 26, n. dialogical 145, 162, 167–76, 200, 34, 237–42 225, 230 Le Bonheur en Allemagne? 240 n. 9 experiencing 6–7, 18, 38–9, 43, Le Coq de bruyère 212 70–71, 223 Éleazar 158–9 Index 281

Gaspard, Melchior & Balthazar violence 105, 110, 161, 191–2, 125–6, 187 200, 204–6, 209, 211, 221, La Goutte d’or 133, 192 241 n. 14 Le Médianoche amoureux 202, 207 of language 87, 90–93, 112, 236 Les Météores 201–2 n. 2 Le Miroir des idées 202–4, 209, 238 of narrative/understanding 2, 16, n. 20 18, 87–8, 143, 177, 188 Le Pied de la lettre 203, 237 n. 9, and war 105, 110, 186, 228 242 n. 32, n. 33 visuality, visual (properties or Le Roi des Aulnes 4, 20, 23, 27, descriptions) 36, 73, 92, 160 121–2, 125–31, 133–7, 141–3, visual perception 74–6, 79, 84, 150–54, 156–67, 172–3, 177–91, 118, 146, 153, 224 193–201, 204–6, 208, 213, 223, voice 82–3, 168, 183, 172, 193, 211, 232 n. 12, 233 n. 26, 237 n. 12, 220, 240 n. 19, n. 9 238 n. 27, 239 n. 12, 240 n. 7 narrative 37, 103, 128, 130, 132, Vendredi 171–2, 191, 193, 202–3, 136, 173, 196, 205 237 n. 6, 239 n. 13 Volodine, Antoine 220 Le Vent Paraclet (Wind Spirit) 122, Voragine, Jakobus de 133, 150 124–5, 129, 134–8, 143, 163–5, 172, 197, 202, 205, 213 Walsh, Richard 37 Le Vol du vampire 136, 157, 202, war 33, 93, 96–7, 100, 102, 110, 118, 241 n. 13 127, 178–9, 183, 186, 223, 241 Toussaint, Jean-Philippe 220 n. 24; see also First World War; Tran Huy, Minh 217 Second World War transformation 14, 39, 61–2, 93, Watt, Ian 11, 79, 187–8, 237 n. 4, 115, 125, 128, 142, 164, 172, 241 n. 13 189, 193, 212, 216, 222 Weber, Max 10, 95–7, 236 n. 5 Turner, Mark 8 Weller, Shane 115 White, Hayden 5, 53, 84–6, 106, uncertainty 36, 39, 55, 60–62, 72, 146, 197, 222, 229, 232 n. 17 81–2, 84, 105–6, 212, 214, 223, Wiesel, Elie 123 234 n. 5 Winterson, Jeanette 227–8 understanding 6, 18, 20, 74, 101, Wittig, Monique 118, 236 n. 15 118, 134, 140, 146, 167–8, 176, Wolf, Christa 211, 228 192–3, 207, 213–14, 218, 236 Worthington, Kim 232 n. 19, 233 n. 2; see also pre-understanding; n. 31 self-understanding Woolf, Virginia 12, 14, 38, 41, 55, shared narrative 101 70 as violent 89–90 world 5, 7–8, 10–12, 14–16, 19, 22, 25, 31, 38–9, 47–9, 51–2, 54–5, Valéry, Paul 49–50, 138 57–63, 65–76, 78–84, 88–90, 94, Vattimo, Gianni 212, 233 n. 28 98, 100–2, 105, 107, 111–14, Vercier, Bruno 93, 195, 231 n. 2, 241 116, 121, 123–4, 130, 132–6, n. 24 138–43, 147, 150, 153–5, 161, Vermeuleun, Timotheus 226–8, 231 169, 171–2, 174, 178–9, 181, n. 6 190–91, 196–7, 204, 207, 211, Veyne, Paul 17 213, 216, 218, 220–25, 228–30, Viart, Dominique 93, 195, 231 n. 2, 235 n. 5, 237 n. 4, n. 7, 239 241 n. 24 n. 4 282 Index world – continued object 36, 66, 75, 181 being in the 2–3, 6, 9, 18, 22, 52, possible 45, 98, 142 69, 131–2, 138, 143, 148, 155, re-engagement with 121, 140, 176, 217, 219 222–3, 229, 242 142–3, 219 n. 3 world-historical 103, 179, 183, fictive 32, 35, 37, 39–44, 58, 64, 188 118, 130, 204 world-interpretation 138–9 historical 8, 123, 133, 135, 140, 142, 155 Zola, Emile 105