Calder New Book Information

Total Page：16

File Type：pdf, Size：1020Kb

CALDER NEW BOOK INFORMATION Moderato Cantabile by Marguerite Duras TRANSLATED BY RICHARD SEAVER SELLING POINTS: • A modern French classic • Only edition in print in the UK • Brand-new, beautifully produced edition in the relaunched Calder series DESCRIPTION: A distressed young man murders the woman he loves in a café, watched SERIES: Calder Publications by a large crowd. Fascinated by the crime she has witnessed, Anne th January 25 2018 • £7.99 Desbaresdes returns several times to the scene, forming a relationship 978-0-71454-455-7 150 pp • PB with a man who also saw the murder, and drinking through the after- Subject: FC noon with him as he patiently answers her eager questions. Slowly, Rights: World English they fi nd themselves being taken over by forces which threaten their (excluding US/Canada) own stability. Moderato Cantabile is a carefully woven tapestry of emotion, in which the characters’ inner lives are refl ected by the story’s spaces and landscapes. “Duras’s sentences lodge themselves slowly in the reader’s mind until they detonate with all the force of fused feeling and thought.” The New York Times Book Review ABOUT THE AUTHOR: Prix Goncourt winner Marguerite Duras (1914–96) is one of the most infl uential fi gures in French postwar literature, with The Sea Wall, The Lover and Moderato Cantabile among her most famous novels. TO PLACE YOUR ORDER, PLEASE CONTACT: Macmillan Distribution Ltd, Cromwell Place, Hampshire International Business Park, Lime Tree Way, Basingstoke, Hampshire RG24 8YJ Tel: 01256 302 692 or Fax: 01256 812 521 FOR SALES ENQUIRIES, PLEASE CONTACT: Bloomsbury Publishing Plc, 50 Bedford Square, London WC1B 3DP Tel: 0207 631 5600 or Fax: 0207 631 5800 For more information about Calder Publications, please visit: www.calderpublications.com.

Copy Link

Recommended publications

From the Sea Wall to the Lover : Prostitution and Exotic Parody
Studies in 20th Century Literature Volume 21 Issue 2 Article 7 6-1-1997 From The Sea Wall to The Lover : Prostitution and Exotic Parody Pascale Bécel Florida International University Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Feminist, Gender, and Sexuality Studies Commons, and the French and Francophone Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Bécel, Pascale (1997) "From The Sea Wall to The Lover : Prostitution and Exotic Parody," Studies in 20th Century Literature: Vol. 21: Iss. 2, Article 7. https://doi.org/10.4148/2334-4415.1426 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 Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. From The Sea Wall to The Lover : Prostitution and Exotic Parody Abstract This analysis of the two novels highlights Marguerite Duras' equivocal stance with regard to colonial Indochina where she grew up at the beginning of the century. As The Lover rewrites The Sea Wall in the autobiographical mode, the emphasis shifts from an explicit denunciation of colonialism and an implicit subversion of the Lotilian novel, to a parody of exotic themes and narratives. However, by focusing on the two young protagonists' construction of themselves as femmes fatales and prostitutes, this discussion reveals that the politics of
[Show full text]
Download This PDF File
Dominiek Hoens & Sigi Jöttkandt INTRODUCTION ‘Lacan is not all’1 xpressed with the simplicity of her elliptical put-down which we have adopted for our title for this special issue, Marguerite Duras’ attitude to- wards psychoanalysis was ambiguous to say the least.1 Frequently, when she speaks of psychoanalysis, she leaves us in no doubt of her very great Emistrust of it, her acute sense of being a stranger to its discourse. Yet, regarding the event that inspired these invitations to express her opinion on psychoanalysis – Jacques Lacan’s “Homage to Marguerite Duras, on Le Ravissement de Lol V. Stein,” – she is generally positive, at times even enthusiastic.2 Since its first appearance in 1965, Lacan’s sibylline essay has provoked a flood of commentaries and further explorations of the topics it alludes to: love, desire, femi- ninity, writing, among many others. Therefore, it seems natural to us to launch this issue with Jean-Michel Rabaté’s essay on The Ravishing of Lol V. Stein, the pivotal novel in Duras’ oeuvre and the text that originally sparked the Lacanian interest in Duras. In his candid contribution, Rabaté raises the issue of ravissement, starting from his question, “Why were we all in love with Marguerite Duras?” This ‘all,’ we discover, may first and foremost include Lacan, whose “Homage” entails an analy- sis of his own ravishment by Duras or, more precisely, by the unfolding triangles in Lol V. Stein that end up encompassing the reader. It is for this reason that, even as he pays careful, ‘academic’ attention to the ternaries inside, yet transgressing, the confines of the novel, Rabaté also cannot refrain from a ‘personal’ questioning of the triangle that was constituted by Duras, her work and himself, as he recalls in this intimate memoir recounting the remarkable times that they spent together in Dijon, and later, in Paris in the 1970s and 1980s.
[Show full text]
SELF-PORTRAIT and the DISCOVERY of the FEMALE VOICE in the WRITING of MARGUERITE DURAS. by SUSAN MAE BRETT B.A., the University
SELF-PORTRAIT AND THE DISCOVERY OF THE FEMALE VOICE IN THE WRITING OF MARGUERITE DURAS. By SUSAN MAE BRETT B.A., The University of British Columbia, 1976 A THESIS SUBMITTED IN PARTIAL FULFULLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES DEPARTMENT OF FRENCH We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1985 © Susan Mae Brett, 1985 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of French The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date October 8, 1985. ii ABSTRACT Marguerite? Duras * earlier works fit readily into the genre of the traditional novel and, like many early works of fiction, are often auto• biographical in content. Un Barrage contre le Pacifique(l950), for example, tells the story of her difficult childhood in Indochina where she was raised by a widowed mother. However, with Mpderato Cantabile (1958) her writing style changes markedly. The author associates this alteration in style with a crisis in her personal life whereby her writing becomes poetic and the narrative content increasingly abstruse.
[Show full text]
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.
[Show full text]
Producing Hiroshima and Nagasaki: Literature, Film, and Transnational Politics Yuko Shibata
University of Hawai'i Manoa Kahualike UH Press Book Previews University of Hawai`i Press Fall 8-31-2018 Producing Hiroshima and Nagasaki: Literature, Film, and Transnational Politics Yuko Shibata Follow this and additional works at: https://kahualike.manoa.hawaii.edu/uhpbr Part of the Asian History Commons, and the Visual Studies Commons Recommended Citation Shibata, Yuko, "Producing Hiroshima and Nagasaki: Literature, Film, and Transnational Politics" (2018). UH Press Book Previews. 7. https://kahualike.manoa.hawaii.edu/uhpbr/7 This Book is brought to you for free and open access by the University of Hawai`i Press at Kahualike. It has been accepted for inclusion in UH Press Book Previews by an authorized administrator of Kahualike. For more information, please contact [email protected]. PRODUCING HIROSHIMA AND NAGASAKI 6772_Book_CC.indd 1 6/12/18 6:57 PM PRODUCING HIROSHIMA AND NAGASAKI Literature, Film, and Transnational Politics Yuko Shibata UNIVERSITY OF HAWAI‘I PRESS HONOLULU 6772_Book_CC.indd 3 6/12/18 6:57 PM © 2018 University of Hawai‘i Press All rights reserved Printed in the United States of America 23 22 21 20 19 18 6 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Names: Shibata, Yuko, author. Title: Producing Hiroshima and Nagasaki : literature, film, and transnational politics / Yuko Shibata. Description: Honolulu : University of Hawai‘i Press, [2018] | Includes bibliographical references and index. Identifiers: LCCN 2017058503 | ISBN 9780824867775 (cloth alk. paper) Subjects: LCSH: Atomic bomb victims in motion pictures. | Atomic bomb victims in literature. | Hiroshima mon amour (Motion picture) | Duras, Marguerite. Hiroshima mon amour. | Nagai, Takashi, 1908–1951.
[Show full text]
Fernanda Negrete Acts of Love and Unconscious Savoir IN
Fernanda Negrete ACTS OF LOVE anD UncONSciOUS SaVOIR in MARGUERITE DuRAS’ WRITinG Voi che sapete che cosa e amor Donne vedete s’io l’ho nel cor Quello ch’io provo vi ridiro, E per me nuovo, capir nol so.1 Le Nozze di Figaro Act 2 Prelude arguerite Duras’ unique writing holds a place in the lyrical practice of courtly love, which arose at the turn of the twelfth century in the Languedoc, and gave rise, by the fourteenth century, to the “Consis- tori del Gay Saber” (Council of the Gay Science). Duras belongs in this Mtradition insofar as her work understands the event of love as inseparable from a work of writing, and insofar as she situates and articulates this love between a desire impossible to satisfy and a jouissance of letters beyond meaning.2 The latter emerges at the point where the word becomes music, or where music can be said to speak. It is at such a point that one can speak of a “gai savoir.” This is why Duras, who had a keen ear, emphasized Racine’s and Mozart’s music, looking toward the seventeenth and eighteenth centuries. “C’est la musique qui parle. Ce n’est pas autre chose, on s’y trompe beaucoup; c’est Mozart, Racine aussi, à un point criant” (It’s the music that speaks. It is nothing else, people are often mistaken; it’s Mozart, Racine too, to a screaming point) (La vie, 92). In Mozart’s opera buffaThe Marriage of Figaro, whose libretto is by Lorenzo da Ponte, the aria that Cherubino offers to the Contessa – and whose first verses form the present essay’s – reveals this young lover’s position of suffering the effects of a jouissance in the body that escapes his own understanding, and which, nonethe- less, pushes Cherubino into the ladies’ intimate quarters to speak, or not merely speak, but even sing (usually in a mezzo-soprano voice en travesti).
[Show full text]
Desire, Passion, and Pain in the Poeticism of Marguerite Duras IZVORNI ZNANSTVENI RAD Poetika Žudnje I Uskrate PREDAN: 15
LJUBAV U SJENI MELANKOLIJE: žudnja, strast i bol u poetici Marguerite Duras - - INGRID 70 ŠAFRANEK - - LOVE IN THE SHADOW OF MELANCHOLY: Desire, passion, and pain in the poeticism of Marguerite Duras IZVORNI ZNANSTVENI RAD Poetika žudnje i uskrate PREDAN: 15. 5. 2017. PRIHVAĆEN: 1. 6. 2017. „Žene nipošto ne pišu iz istog mjesta kao muškarci. A kad UDK: 82.01:159.942.5/6 žene ne pišu iz mjesta žudnje, one ne pišu, one plagiraju.” 82DURAS, M. „Žene vide svijet drugačije.” M. Duras SAŽETAK: Središnju tematiku želje i erotske strasti prožimaju usporedni i suprotni motivi melankolije i manjka (uskrate). Ova dihotomija prisutna je na Pisat ću i kad me jednom više ne bude... Tako je govorila svim razinama pisanja i poetike Marguerite Duras – od tematike preko naracije, retorike i stila do višeslojne metaforičnosti. Polazište njezina umjetničkog, Marguerite Duras (Gia-Dinh, 1914. – Pariz, 1996.), vjerujući u „ženskog”, pjesničkog rukopisa (écriture) u drugačijem je, uzajamnijem odnosu „malu vječnost” književnog djela koju će, bar za neko vrijeme, između tijela (osjeta, emocija) i jezika, imaginarnog i simboličkog, slike i riječi, omogućiti želja budućih čitatelja. A njezin zagonetni aforizam doslovnog i svih prenesenih značenja – u tekstu. To se očituje u ovom lirskom, avangardnom, ujedno modernom i antimodernom opusu na križanju proze i Pisanje je poljubac mrtvom tijelu ljubavi spaja u jednom dahu poezije, kao i u eksperimentalnom, novovalnom filmu 1960-ih i 1970-ih. U srži ljubav, smrt i pismo u nerazdvojivu cjelinu. Govoriti nakon „poetike žudnje” nalazi se dihotomičan odnos suprotnosti, ali i razmjene između Barthesa o libidinalnoj energiji, a nakon Lacana o odnosu osjetilnosti i spoznaje, ljubavi i boli.
[Show full text]
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.
[Show full text]
Sexual Politics: Mapping the Body in Marguerite Duras's L'amant
RICHARD J. GRAY II Ashland University Sexual Politics: Mapping the Body in Marguerite Duras’s L’A m a n t AB STRACT : In L’A m a n t (1984), through the juxtaposition of traditional male/female sexual roles, Marguerite Duras painted a gynocentric portrait of sexual politics. By depicting a series of encounters in diverse parts of the Indochinese (Vietnam) landscape, Duras’s novel described the sexual “coming of age” story of her female protagonist’s. Each Vietnamese setting became a visual and sensory metaphor for the various developmental stages of the protagonist. In this essay, I contend that Duras’s use of contrasting settings serves to “flesh out” the sexual poli- tics conveyed in the novel. Herein, I examine the geographic locations illustrating the sexual politics of the novel, including the Mekong River signifying the female protagonist’s rite of passage, Cholon, the city where the girl experiences sexual liberation and a struggle with the established authority, the lover’s apartment where the couple consummates their relationship, and finally, France representing the land of wealth to which the protagonist will eventually return. KEY W ORDS : autobiography, Judith Butler, Cholen (Cholon), colonisation, crossing, gender, juxta- position, Marguerite Duras, Julia Kristeva, liberation, liminal space, mapping the body, Mekong, Kate Millett, Other, post-colonial, prostitution, sexploitation, sexuality, sexual politics. In her classic feminist text entitled Sexual Politics (2000), Kate MILLETT stated that “one is forced to conclude that sexual politics, while connected to economics and other tangibles of social organization, is, like racism, or certain aspects of caste, primarily an ideology, a way of life, with influence over every other psychological and emotional facet of existence” (168).
[Show full text]
Duras and Yun, 2018
A Chronology of Conflated Dispersion – Duras and Yun subjectively edited by Haegue Yang, 2018 Marguerite Duras (1914-1996) and Isang Yun (1917-1995) 1910 In the Japan-Korea Treaty of 1910, also known as the Japan-Korea Annexation Treaty, Japan formally annexed Korea. The treaty was concluded by representatives of the Empire of Japan and the Korean Empire on August 22. Recognized as an unequal treaty, its legality was later disputed. 1914 Marguerite Duras was born on April 4 as Marguerite Donnadieu in Gia-Dinh, near Saigon, Indochina (now South Vietnam). Her parents, Henri Donnadieu (1872-1921) and Marie Legrand (1877-1957), were French colonists. She had two elder brothers: Pierre (born 1910) and Paul (born 1912). 1917 Isang Yun was born to a poet Ki-Hyon Yun and a teacher Sun-dal Kim on September 17 in Tongyeong, a seaside city surrounded by islands and on the southern coast of South Korea. (Several sources indicate that Yun was born in the South Korean Province of Kyungnam and moved to Tongyeong at the age of three.) He was deeply influenced by the songs of fishermen, pansori (a Korean genre of musical storytelling), and open-air performances by shamans when he was growing up. 1919 The March 1st Movement, also known as the Sam-il (3-1, in reference to March 1) Movement was one of the earliest public displays of Korean resistance during the Japanese rule of Korea from 1910 to 1945. 1921 Some sources state that Duras’ father died on December 4, when she was seven. Marie Legrand, Duras’ mother, attempted to diversify her income with the purchase of rice fields in current Cambodia, but the investment was tainted by corrupt French colonial bureaucracy.
[Show full text]
Narratives Crossing Borders: the Dynamics of Cultural Interaction
Established and Alternative Literary Criticism: A Study of Marguerite Duras’s Works Reviewed in Sweden Mattias Aronsson Dalarna University Introduction This chapter examines two types of reviews issued in Sweden of Marguerite Duras’s works translated into Swedish. A corpus of texts published in the Swedish press has been collected (here called “established criticism”), and this material is contrasted with reviews uploaded in the blogosphere by “prosumers” (in the study labelled “alternative criticism”).1 Hence, the two types of literary criticism are published in separate arenas, and we may assume that they target different audiences and serve different purposes. The reviews are also written by individuals occupying very different positions in the world of literature. The established critics publish their reviews in distinguished or at least well- known newspapers and magazines. These individuals have thus attained dominating positions in the field of cultural production. Most of the bloggers that are present in the corpus, on the other hand, must be considered as non-established in the cultural arena – since they do not have access to these renowned publications. Instead, they have positioned themselves in the alternative arena 1 The first results have been published in a previous article (Aronsson, 2016), and the present study constitutes the second part of the research project. How to cite this book chapter: Aronsson, M. 2021. Established and Alternative Literary Criticism: A Study of Marguerite Duras’s Works Reviewed in Sweden. In: Jonsson, H., Berg, L., Edfeldt, C. and Jansson, B. G. (eds.) Narratives Crossing Borders: The Dynamics of Cultural Interaction. Pp. 307–335. Stockholm: Stockholm University Press.
[Show full text]
“Real” Places in Marguerite Duras's Wartime Paris
Studies in 20th & 21st Century Literature Volume 35 Issue 2 Article 2 6-1-2011 “Real” Places in Marguerite Duras’s Wartime Paris Jennifer Willging The Ohio State University Follow this and additional works at: https://newprairiepress.org/sttcl Part of the French and Francophone Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Willging, Jennifer (2011) "“Real” Places in Marguerite Duras’s Wartime Paris," Studies in 20th & 21st Century Literature: Vol. 35: Iss. 2, Article 2. https://doi.org/10.4148/2334-4415.1746 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. “Real” Places in Marguerite Duras’s Wartime Paris Abstract In the four autobiographical narratives in Marguerite Duras’s La Douleur (1985) The War (1994), over one hundred proper place names appear. While these place names all refer to real places, the relationship between these signifiers and their actual geographical referents is mediated, first yb their signifieds—the reader’s mental constructs of the places mentioned—and further by their appearance in a text that necessarily creates its own, non-material world. Yet this essay argues that in this uncharacteristically realist text Duras works hard to create the illusion that the Paris there is in fact Occupied Paris, the real city in which she lived out the experiences recounted in her text.
[Show full text]