Marguerite Duras is France's best-known and most controversial contemporary woman writer. Duras' influence extends from her early novels of the 1950's to her radically innovative experimental autobiographical text of the 1980's The Lover Leslie Hill's book throws new light on Duras' relationship to feminism, psychoanalysis, sexuality, literature, film, politics, and the media. Feted by Kristeva, and Laca who claimed her as almost his other self, Duras is revealed to be a profoundly transgressive thinker and artist. It will be a (...) must for all concerned with contemporary writing, writing by women, recent European cinema, film and literature. (shrink)

Dans sa lecture de l'Hommage de Lacan à Marguerite Duras pour Le Ravissement de Lol V. Stein, Erik Porge met en évidence, cinquante ans après, l'actualité de ce texte où Lacan lie la problématique de la sublimation à celle d'une fiction clinique faisant cas. Il montre en effet que la transmission de la clinique de l'analyste participe de la dynamique de la sublimation de celui-ci. La topologie du fantasme, avec laquelle cette folie féminine - qui s'inscrit dans la suite (...) de Marguerite Anzieu (cas Aimée) et des soeurs Papin - est abordée, ouvre le lecteur à une dynamique transférentielle et de sublimation par son articulation à la pulsion. En même temps que Lacan parle de la sublimation, il est ravi par le texte et fait acte de sublimation dans l'écriture de son Hommage, en nouant l'objet de sa propre pulsion au Ravissement de Lol V. Stein et à Marguerite Duras elle-même. Dans un mouvement de retour sur sa lecture de ce texte, Lacan élève la lettre à la dignité de la Chose (définition de la sublimation) ; le style devient condition d'accès au cas et fait lui-même cas. (shrink)

En La communauté inavouable (1983), se ocupa Blanchot expresamente de pensar la comunidad de quienes no tienen comunidad, cuestión que había asomado ya en Le livre á venir (1959) y en L'entretien infini (1969). La presente conferencia se refiere a estos antecedentes. En la primera parte; sobre el relato de Duras El square (1956) y el ensayo de Blanchot que lo medita, El dolor del diálogo, indica la relación "ética" entre la conversación y la desgracia. La segunda parte, entre otros, (...) caracteriza el tiempo en que se da la rareza de la conversación, así como las experiencias que permiten al pensamiento no anteponerse a la desgracia pero tampoco abandonarse a la ausencia de pensamiento. La tercera parte lee los escritos Lo indestructible, La relación del tercer género, etcétera, para caracterizar los diferentes "niveles" de la desgracia en dirección a la posibilidad o a la imposibilidad de conversar. La cuarta y última parte vuelve sobre la primera con el propósito de precisar la comunidad de los que no tienen nada en común salvo su separación -diferente en cada uno- del mundo: la comunidad de la desgracia. (shrink)

This paper analyses the notions of desire and metissage that circulate in The Lover, Marguerite Duras's autobiographical novel about an illicit and scandalous sexual relationship between an adolescent French girl and a wealthy Chinese man set in 1920s French colonial Siagon. Rather than celebrate The Lover as a tale of a young French girl's resistance to colonial sexual mores and regulations, this paper seeks to excavate how that resistance both affirms and challenges the racializing and racist dynamics of colonial (...) society. In particular, I explore the intertwining discourses of colonial sexuality, gender, race, and Orientalism that both produced and constrained the specific forms of desire and subjectivities available to and taken up by European women in French Indochina, and that circumscribe the story that Duras is able to tell about the French girl's love affair in The Lover. I suggest that Duras's portrayal of the French girl as a sexually autonomous female subject – one whose erotic relations are not bound by the dictates of colonial patriarchy – is made possible only by the ambivalent structure of the girl's desire, by her simultaneous attraction to and repulsion of the racialized others of the French colonies. (shrink)

Trois auteurs dramatiques, Arthur Schnitzler (1862-1931) dans Au Grand Guignol, Paul Claudel (1868-1955) dans Le Soulier de Satin, et Marguerite Duras (1914-1996) dans Savannah Bay, nous placent au cœur même du processus de la représentation théâtrale, fait d’imprévus, d’incertitudes et d’accidents. Cette écriture rend sensible un temps dynamique, vivant et jaillissant, qui n’est pas sans rappeler la conception bergsonienne du temps comme « création continue d’imprévisible nouveauté ». Ces œuvres, dans leur mouvement de dépassement du caractère construit et fini (...) du texte de théâtre, et dans leur questionnement sur la part de risque que comporte l’acte de jouer, peuvent aussi être mises en relation avec la performance. (shrink)

This article considers how the concept of desire can be theorized in light of recent work on emotion and affect. In so doing, it questions what desire does and how desire can be theorized, particularly within cinema. Instead of arguing that we must move away from a psychoanalytic interpretation of desire, I ask how this approach can be revitalized and reconsidered through work on affect. This article also highlights the way in which Lacanian and Deleuzian models of desire are constantly (...) set in opposition to each other; in so doing, it seeks to move beyond this impasse and gesture towards alternative ways of theorizing desire. One of the central issues foregrounded within psychoanalytic theory is the process of remembering and forgetting: the method through which the subject can ‘let go’ and move forward. This relationship is figured primarily in terms of the discourse between self and other. Marguerite Duras’ work questions this process of ‘letting go’ and offers an alternative conceptualization of desire through her use of melancholia. Beyond an intrinsic interest in her work, because Duras has been admired by psychoanalytic, feminist and Deleuzian scholars, her films present an opportunity to rethink a theorization of desire in light of competing interpretations. In discussing melancholia in terms of Duras’ work, this paper also considers the extent to which her use of Hiroshima as a backdrop to the affair presented in the film colonizes desire and its transformative potential. (shrink)

This article takes as its point of departure Maurice Blanchot's pairing of Marguerite Duras and Jean-Luc Nancy in The Unavowable Community, and reads India Song, a film by Duras, through Nancy's work on community. Just as Nancy articulates a thinking of community in terms of touch, so Duras develops her own filmic vocabulary of touch to examine questions of being-with, exposure, love and sacrifice against the background of a negative model of community. The article argues that the figure of (...) touch in India Song, both between bodies onscreen and between viewer and film, becomes central to the film's engagement with issues of community, finitude and the political. (shrink)

In his dialogue with Blanchot (The Disavowed Community vs. The Unavowable Community), Jean-Luc Nancy intended to denounce, but without opposing another figure, the idea according to which the community of lovers, as exemplified by Marguerite Duras in The Disease of Death, would be the accomplishment of the community as a work of death. On the basis of a reading of Richard Dehmel’s poem, Verklärte Nacht (Transfigured Night), we would like here to outline the schema of a couple in which (...) the unspeakable is transfigured into the power of the advent of a shared community. (shrink)

In _Black Sun_, Julia Kristeva addresses the subject of melancholia, examining this phenomenon in the context of art, literature, philosophy, the history of religion and culture, as well as psychoanalysis. She describes the depressive as one who perceives the sense of self as a crucial pursuit and a nearly unattainable goal and explains how the love of a lost identity of attachment lies at the very core of depression's dark heart. In her discussion she analyzes Holbein's controversial 1522 painting "The (...) Body of the Dead Christ in the Tomb," and has revealing comments on the works of Marguerite Duras, Dostoyevsky and Nerval. _Black Sun_ takes the view that depression is a discourse with a language to be learned, rather than strictly a pathology to be treated. (shrink)

Julia Kristeva refracts the impulse to hate (and our attempts to subvert, sublimate, and otherwise process it) through psychoanalysis and text, exploring worlds, women, religion, portraits, and the act of writing. Her inquiry spans themes, topics, and figures central to her writing, and her paths of discovery advance the theoretical innovations that are so characteristic of her thought. Kristeva rearticulates and extends her analysis of language, abjection, idealization, female sexuality, love, and forgiveness. She examines the "maladies of the soul," utilizing (...) examples from her practice and the ailments of her patients, such as fatigue, irritability, and general malaise. She sources the Bible and texts by Marguerite Duras, St. Teresa of Avila, Roland Barthes, Simone de Beauvoir, and Georgia O'Keefe. Balancing political calamity and individual pathology, she addresses internal and external catastrophes and global and personal injuries, confronting the nature of depression, obliviousness, fear, and the agony of being and nothingness. Throughout Kristeva develops the notion that psychoanalysis is the key to serenity, with its processes of turning back, looking back, investigating the self, and refashioning psychical damage into something useful and beautiful. Constant questioning, Kristeva contends, is essential to achieving the coming to terms we all seek at the core of forgiveness. (shrink)

Clower, Jason: The Unlikely Buddhologist, Tiantai Buddhism in M ou Zongsan’s New Confucianism Content Type Journal Article Pages 1-4 DOI 10.1007/s11712-011-9261-y Authors Sébastien Billioud, Univ Paris Diderot, Sorbonne Paris Cité. UFR LCAO/East Asian Studies Department, Case 7009, 16 rue Marguerite Duras, 75205 Paris Cedex 13 Paris, France Journal Dao Online ISSN 1569-7274 Print ISSN 1540-3009.

Comment le silence agit-il au cinéma? Qu'est-ce qui permet d'identifier ce phénomène? Implique-t-il la disparition intégrale de la matière sonore ou seulement sa minimalisation à l'intérieur d'un film? Son intervention, ponctuelle ou durable, tend à engager une raréfaction, voire une suppression, des paroles et de la musique, mais pas forcément de tout bruit. Des lieux particulièrement silencieux, ainsi que le mutisme ou la surdité d'un personnage, sont également propices à l'instauration de telles situations audiovisuelles. Cet ouvrage analyse, à travers une (...) approche généalogique et herméneutique, la présence du silence dans le cinéma contemporain sur le double principe d'héritages figuratifs et de ruptures discursives. Il s'appuie sur un corpus de films réalisés entre autres par Robert Bresson, Marguerite Duras, Andrei Tarkovski, Theo Angelopoulos, Tsaï Ming-liang, Béla Tarr, Pedro Costa ou Sharunas Bartas. Au-delà des considérations esthétiques, le livre interroge aussi les valeurs anthropologiques, morales, sociales et/ou politiques qui se glissent derrière ces manifestations concrètes du silence. Celui-ci nous invite, tant sur le plan éthique que sensible, à repenser notre rapport fondamental au monde."--Page 4 of cover. (shrink)

In lieu of an abstract, here is the essay's opening paragraph: Marguerite Duras prefaces the second edition of Le navire night , from which an excerpt is cited above, by explaining that after writing the story of a man named J.M., everything came too late, including the realization of the film version of Le navire night. Once the event has been written and the common night of history been closed up, did she have the right to flash a light (...) into the darkness to go back and see? The only seeing through cinema that was possible, she continues, was to film the failure, the disaster of the film. But how does one film the failure of realizing a film adaptation of a written text, which itself was transcribed from an oral re-telling of a story, which itself was adapted from memory? The event already took place – writing, “this history here” –, leaving cinema to film what never took place, namely, the film itself. As Jean-Luc Godard confirms in a chapter titled Seul le cinéma in Histoire du cinéma, not only in the form of his project as a whole but also more explicitly in one shot that positions two close-up photographs of his face with the sound of Paul Hindemith’s “Funeral Music” and this text: “Faire une description précise de ce qui n’a jamais eu lieu est le travail de l’historien.” Describing the rise of the film Le navire night from its disastrous death, Duras writes: “On a mis la caméra à l’envers et on a filmé ce qui entrait dedans, de la nuit, de l’air, des projecteurs, des routes, des visages aussi.” The camera turned upside-down, or in the other sense, inside-out, Duras films the entrance of the exterior, a sort of a Levinasian visage. The question no longer is one of having the right but of the duty to re-write history, as is insinuated by the reference to “The Critic as Artist” written across one of the photographs mentioned above, which is again a gesture of Godard’s positioning himself as the critic whose role Oscar Wilde defined: “The one duty we owe to history is to rewrite it.”. (shrink)

Negative handprints or hand-stencils, which occur in many prehistoric sites around the world, occupy a particular place in accounts of rock art. Although they frequently occur alongside paintings, their indexical status as imprints leads them to be treated separately from other types of representations that are more easily accepted as such. This article argues that the negative handprint operates as a kind of limit-case for definitions of art. I examine how it has given rise to imagined scenarios of making — (...) what we might call primal scenes of art — by writers including Georges Bataille, Maurice Blanchot and Marguerite Duras. While its logic of presence invites us to think about it as a point of origin, a trace that connects us to our earliest human ancestors, I show how it can be read against that logic of presence through the lens of one particular ‘primal scene’, that imagined by Jean-Luc Nancy. In this reading, it is precisely the question of absence or distance that gives the handprint its status as a point of origin that undoes the very idea of origins. (shrink)

From mass murder to genocide, slavery to colonial suppression, acts of atrocity have lives that extend far beyond the horrific moment. They engender trauma that echoes for generations, in the experiences of those on both sides of the act. Gabriele Schwab reads these legacies in a number of narratives, primarily through the writing of postwar Germans and the descendents of Holocaust survivors. She connects their work to earlier histories of slavery and colonialism and to more recent events, such as South (...) African Apartheid, the practice of torture after 9/11, and the "disappearances" that occurred during South American dictatorships. Schwab's texts include memoirs, such as Ruth Kluger's _Still Alive_ and Marguerite Duras's _La Douleur_; second-generation accounts by the children of Holocaust survivors, such as Georges Perec's _W_, Art Spiegelman's _Maus_, and Philippe Grimbert's _Secret_; and second-generation recollections by Germans, such as W. G. Sebald's _Austerlitz_, Sabine Reichel's _What Did You Do in the War, Daddy?_, and Ursula Duba's _Tales from a Child of the Enemy_. She also incorporates her own reminiscences of growing up in postwar Germany, mapping interlaced memories and histories as they interact in psychic life and cultural memory. Schwab concludes with a bracing look at issues of responsibility, reparation, and forgiveness across the victim/perpetrator divide. (shrink)

"Since at least 1980 Godard’s cinema has been explicitly looking for (its) music, as if for its outside. In Sauve qui peut (la vie) Paul Godard hears, and asks about it, coming through the hotel room wall, and it follows him down to the lobby, but remains “off,” like Marguerite Duras’s voice, in spite of his questions, until the final sequence. At that moment, at the end of the section entitled “Music,” the protagonist is at the same time struck (...) by a car and struck by the entrance of the music into the diegetic present of the film, as the camera pans past an orchestra playing on the sidewalk while Paul fades off under the quizzical gaze of his daughter. By 2004, with Notre musique , it would seem to have taken over the whole text, for the film was announced as being about the collaboration between Godard and German record label ECM. In the context of that film it is difficult to determine both what that music is and who we are, although this discussion will try to advance a hypothesis in that regard. In fact, my main contention will be that music in Godard’s films functions as something like the absent image ( s ), not those it has lost but rather its cinema to come, what remains to be discovered and live within it, the survival of it. Not a cinema that cannot be seen, rather the image that can perhaps only be heard; and not the romantic or psychedelic dream of a synaesthetic apotheosis either, rather the technological coincidence of sonimage that has also been the precise direction of Godard’s cinematic research for more than thirty years. For the argument I will be making here is inscribed within my own investigation of what I call “technological life,” the means by which, in “prosthetic” symbiosis, or “dorsal” umbrality, a form lives beyond the simplistic opposition of animate and inanimate, or against the reductive presuppositions of autokinetic ipseity...". (shrink)

El proyecto ilustrado ha definido la emancipación como el abandono de una minoría de edad, como el pasaje de una minoría a una mayoría de edad en los sujetos. Ahora bien, la historia efectiva de este abandono y este pasaje ha sido la de la estabilización progresiva en nuestras sociedades del gobierno de los mayores (sabios) sobre los menores (ignorantes). En este artículo, a partir de los trabajos de Jacques Rancière, tratamos de aislar la emancipación de la ilustración, e interrogamos, (...) a través del examen de una obra de Marguerite Duras que supone una figuración determinada del comunismo, algunas de las paradojas de una hipótesis de la emancipación que no dejaría de lado a las potencias de infancia. (shrink)

Julia Kristeva is one of the most influential French thinkers of the twentieth century and is best known for her work in linguistics. Even though her work has been very influential, the political implications of her writings have so far been neglected. _Kristeva and the Political_ is the first book to explore the relation of Kristeva's work to the political and casts new light on her work, connecting her to recent developments in literary theory, political theory, and cultural studies. In (...) particular it shows how Kristeva's account of the unconscious and psychoanalysis generally, widens the notion of the political. Each chapter introduces a fundamental theme in Kristeva's work, highlighting a specific period of development in her thought and drawing on texts from the 1960s through to the 1990s. Themes addressed include Kristeva's theory of discourse, the theory of the subject, the notion of alterity, feminism and marginality and her theory known as the 'politics of meaning'. _Kristeva and the Political_ also shows how Kristeva's notions of the political draw on a rich array of thinkers and writers, from Freud, Melanie Klein and Lacan, to Proust and Marguerite Duras. (shrink)

I have enjoyed reading fiction since I was young, and until I was twenty-eight I believed that I could write it myself. Then I read a novel by [Michel] Tournier and changed my mind. Imperceptibly, great changes have taken place in fiction. The difference between modern fiction and classical fiction is as great as the difference between the car and the horse-drawn cart. The finest of the modern novels cannot be read ten lines at a glance. Let me cite an (...) example, so that my readers can come to share my point of view. The first sentence of Marguerite Duras's novel The Lover is "I was already old." Innumerable vicissitudes are contained in that phrase. If you read on carefully, you will discover that more or less every sentence is written like that, and my views on modem novels were formulated by reference to The Lover. The great modern novels always contain a lot of information and are extremely elegantly written, delighting those who read them and scaring those who would like to write fiction. Of the classic writers, only the Russian Chekhov occasionally writes in this way, but by no means all his works command reverence. I have to confess that modern novelists used to shock me greatly. The novel by Tournier that I read, called Death and the Maiden, was only the first of a series of shocks. (shrink)

This article examines the experience of trauma, paying particular attention to how traumatization affects one’s sense of body, time, and intersubjectivity. Furthermore, this study provides one example of how literature can be used in phenomenological research. Using both classical and contemporary phenomenological sources and deepening the analysis by discussing a first-person description by Marguerite Duras, the article aims to clarify one crucial aspect of traumatic experience: trauma alters experiential features so that the relation between traumatic past and present becomes (...) rigid. (shrink)

In _Black Sun_, Julia Kristeva addresses the subject of melancholia, examining this phenomenon in the context of art, literature, philosophy, the history of religion and culture, as well as psychoanalysis. She describes the depressive as one who perceives the sense of self as a crucial pursuit and a nearly unattainable goal and explains how the love of a lost identity of attachment lies at the very core of depression's dark heart. In her discussion she analyzes Holbein's controversial 1522 painting "The (...) Body of the Dead Christ in the Tomb," and has revealing comments on the works of Marguerite Duras, Dostoyevsky and Nerval. _Black Sun_ takes the view that depression is a discourse with a language to be learned, rather than strictly a pathology to be treated. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Community and the “Absolutely Feminine”Sheri I. Hoem (bio)I’ve emphasized the importance of the moment of dissent in the process of constructing knowledge, lying at the heart of the community of thought.—Jean-François Lyotard, The Postmodern ExplainedMaurice Blanchot’s The Unavowable Community places side by side a “community” of writers who confront the very possibility of community as it comes to be inscribed in politico-philosophical and literary modes. His “little book” [56], (...) as he calls it, takes up these modes of discourse separately, in two parts. The first section of his text, “The Negative Community,” constitutes an analytical defense of Bataille’s theoretical concepts of community as they have been interpreted by Jean-Luc Nancy in The Inoperative Community. Blanchot engages the question of community, communion, and communism not simply to contest or continue Nancy’s text, but to restore Bataille to a brotherhood, or “fraternity” [26] of friends and scholars who have come to think in terms of an “unworking” [23] or “negative” community. The second section of Blanchot’s text, “The Community of Lovers,” performs a critical reading of Marguerite Duras’s fictional work The Malady of Death.In The Inoperative Community—the pretext, at least in part, for part one of Blanchot’s little book—Nancy credits Bataille as having “gone farthest into the crucial experience of the modern destiny of community” [16] in that Bataille’s thinking reveals the experience of discerning communism’s failure, followed by a fascination with fascism, and finally a “withdrawal from communitarian enterprises” [16–17] altogether. According to Nancy, at the juncture of the historical and theoretical failings of community, Bataille abandons all forms of community other than “an accursed isolation of lovers and of the artist” [24]. Admitting that he is dealing only with ‘“themes’” rather than with Bataille’s “writing” itself, Nancy nevertheless asserts that Bataille’s thinking on community has always been limited by “the theme of the sovereignty of the subject” [23], even in his community of lovers:Bataille’s lovers are also, at the limit, a subject and an object—where the subject, moreover, is always the man, and the object always the woman, due no doubt to a very classical manipulation of sexual difference in an appropriation of self by self. (However, on another register and in another reading of Bataille’s text, it is not certain that love and jouissance do not pertain essentially to the woman—and to the woman in man. To discuss this it would be necessary to consider Bataille’s writing... something I cannot do here, inasmuch as I am for the moment considering only its “themes.”).[24]Nancy’s reading of Bataille thus clears a space for Nancy’s own investigation into the possibility of community after or beyond the subject, so to speak. Instead of a subject described as an (undivided) individual, Nancy speaks of a “singular being” who is always already othered. Singular beings as such are “constituted by... sharing that makes them [End Page 49] others: other for one another... ‘“communicating’ by not ‘communing’” [25]. For Nancy, it is the very experience of the limits of communication that allows each being to discover a certain singularity in common.Blanchot too reflects on the “theme” of community in Bataille’s works without examining Bataille’s “writing” as such, but he reads Bataille differently. Blanchot demonstrates how Bataille’s thinking gives the effect of “mutation” [4], that Bataille comes to an understanding of self-difference beyond the subject, beyond the limits imposed by Nancy’s reading, beyond the classical construct of subject/object discourse. Blanchot’s “Negative Community” establishes Bataille as one who experienced stages of thought: his thought exhibited its own infidelity.Blanchot turns to certain of Bataille’s terms, particularly “sacrifice,” “ecstasy,” and “inner experience,” to present an alternative to Nancy’s reading. According to Blanchot, the “inner experience” (l’expérience intérieure) is a concept in Bataille that does the opposite of what one might expect. The “inner experience,” Blanchot explains, is amovement of contestation that, coming from the subject, devastates it, but has as a deeper origin the relationship with the other which is community itself... (shrink)

In response to the catastrophes of the twentieth century, contemporary writers were often led to revolutionize inherited forms of philosophical presentation. And now, in an age of Anthropocene extinction, such experiments have become necessary once again. To comprehend this most recent of disasters, the present essay develops a practice of the philosophical fragment which, by returning to contemporaneous accounts of Auschwitz, Hiroshima, and Chernobyl, seeks to demonstrate what was both anticipated by and wholly unforeseen from within the perspective of earlier (...) attempts at contending with natural and societal disasters. By tracking the changing status of the skies in such writers as Robert Antelme, Marguerite Duras, Günther Anders, Svetlana Alexievich, and Greta Thunberg, the present essay distinguishes this longer twentieth-century history of destruction from the work of extermination now underway. (shrink)

Images, whether filmic or not, cannot be replaced by words. Yet words can make images. This is the thesis underlying So What, a collection of essays on filmmakers and artists, including Luchino Visconti, Orson Welles, Marguerite Duras, Hollis Frampton, and Agnes Martin.

In Literature, Art and the Pursuit of Decay, Timothy Mathews examines work by a range of writers and painters working in France in the twentieth century. The well-illustrated book engages with canonical figures - Guillaume Apollinaire, Marguerite Duras and Jean Genet, Roland Barthes, Pablo Picasso and René Magritte - as well as more neglected individuals including Robert Desnos and Jean Fautrier. Mathews draws on psychoanalysis, existentialism and poststructuralism to show how both literature and fine art promote the value of (...) generosity in a culture of anxiety and intolerance. Decay emerges as a surprising ally in this quest because of its ability to undermine intellectual complacency and egoism. Integrating theoretical and material approaches to reading and viewing, Mathews engages with the distinctive features of different literary genres and different types of painting to develop an original history of artistic ambition in twentieth-century France. (shrink)

When she was interviewed by Bernard Pivot, Marguerite Duras professed to be a “Mitterrandist” — not a socialist and she added: “Before '81 we were undergoing the crisis, now we are thinking about it.” True, the socialist government now admits its perplexity and the emptiness of its ideology. There is, as it were, a pause for breath, an attempt to conceptualize not exactly the “crisis” a catch-all word, but the sort of journey toward an unknown shore. The change of (...) political values obliges politicians and journalists to do and proclaim the opposite of their former creed. It would be a mistake to see the new mode of the “entrepreneur” (a word which seems to capture the new state of mind). (shrink)

Julia Kristeva refracts the impulse to hate through psychoanalysis and text, exploring worlds, women, religion, portraits, and the act of writing. Her inquiry spans themes, topics, and figures central to her writing, and her paths of discovery advance the theoretical innovations that are so characteristic of her thought. Kristeva rearticulates and extends her analysis of language, abjection, idealization, female sexuality, love, and forgiveness. She examines the "maladies of the soul," utilizing examples from her practice and the ailments of her patients, (...) such as fatigue, irritability, and general malaise. She sources the Bible and texts by Marguerite Duras, St. Teresa of Avila, Roland Barthes, Simone de Beauvoir, and Georgia O'Keefe. Balancing political calamity and individual pathology, she addresses internal and external catastrophes and global and personal injuries, confronting the nature of depression, obliviousness, fear, and the agony of being and nothingness. Throughout Kristeva develops the notion that psychoanalysis is the key to serenity, with its processes of turning back, looking back, investigating the self, and refashioning psychical damage into something useful and beautiful. Constant questioning, Kristeva contends, is essential to achieving the coming to terms we all seek at the core of forgiveness. (shrink)

In this book, Camila Loew analyzes four women's testimonial literary writings on the Holocaust to examine and question some of the tenets of the fields of Holocaust studies, gender studies, and testimony. Through a close reading of the works of Charlotte Delbo, Margarete Buber-Neumann, Ruth Klüger, and Marguerite Duras, Loew foregrounds these authors' search for a written form to engage with their experiences of the extreme. Although each chapter contains its individual focus and features, the book possesses a unity (...) in intention, concerns, and consequences. In the theoretical introduction that unites the four chapters, Loew eschews essentialism and revises the emergence of the field of Women and Holocaust studies from the early 1980s on, and signals some of its shortcomings. In response, and in accordance with a recent turn in various disciplines of the Humanities, Loew highlights the ethical dimension of testimony and its responsible commitment to the other. In dealing with the texts as literary testimonies—a complex genre, between literature and history—, testimony is freed from the obligation to respond to the requirements of factual truth, and becomes a privileged form to voice the traumatic event, and to symbolically explore the role of excess. (shrink)

Passer à l'acte. Arrêter d'attendre. Se lancer sans filet. Dans la psychanalyse, la criminologie ou le langage courant, le passage à l'acte désigne un acte impulsif autant qu'irrationnel. Et si c'était le contraire? Et s'il y avait dans le passage à l'acte un véritable élan de pensée et de création? Et si le passage à l'acte était avant tout une manière d'accorder une puissance propre à l'étincelle de l'instant, à l'intensité de l'appel d'air? Dans cet essai, on suivra la trajectoire (...) transgressive d'une meurtrière dans un roman de Marguerite Duras, ou encore la ligne de fuite d'un philosophe braqueur de banques. Au plus près des œuvres de Chantal Akerman, Pierre Michon ou Francis Ponge et des idées de Michel Foucault, Jacques Lacan ou Gilles Deleuze, Léa Bismuth propose une réflexion inédite sur le rôle que jouent les crises, les bifurcations brusques, les explosions qu'il est devenu impossible de contenir dans des existences que nous croyons maîtriser. Et si l'art de passer à l'acte était avant tout l'art des commencements aventureux? Et si l'art de passer à l'acte était l'art de vivre la vie elle-même? (shrink)

_The Decision Between Us _combines an inventive reading of Jean-Luc Nancy with queer theoretical concerns to argue that while scenes of intimacy are spaces of sharing, they are also spaces of separation. John Paul Ricco shows that this tension informs our efforts to coexist ethically and politically, an experience of sharing and separation that informs any decision. Using this incongruous relation of intimate separation, Ricco goes on to propose that “decision” is as much an aesthetic as it is an ethical (...) construct, and one that is always defined in terms of our relations to loss, absence, departure, and death. Laying out this theory of “unbecoming community” in modern and contemporary art, literature, and philosophy, and calling our attention to such things as blank sheets of paper, images of unmade beds, and the spaces around bodies, _The Decision Between Us _opens in 1953, when Robert Rauschenberg famously erased a drawing by Willem de Kooning, and Roland Barthes published _Writing Degree Zero_, then moves to 1980 and the “neutral mourning” of Barthes’ _Camera Lucida_, and ends in the early 1990s with installations by Felix Gonzalez-Torres. Offering surprising new considerations of these and other seminal works of art and theory by Jean Genet, Marguerite Duras, and Catherine Breillat, _The Decision Between Us_ is a highly original and unusually imaginative exploration of the spaces between us, arousing and evoking an infinite and profound sense of sharing in scenes of passionate, erotic pleasure as well as deep loss and mourning. (shrink)

Against the background of intellectual and political debates in France during the 1950s and 1960s, Daniel Just examines literary narratives and works of literary criticism arguing that these texts are more politically engaged than they may initially appear. As writings by Roland Barthes, Maurice Blanchot, Albert Camus, and Marguerite Duras show, seemingly disengaged literary principles - such as blankness, minimalism, silence, and indeterminateness - can be deployed to a number of potent political and ethical ends. At the time the (...) main focus of this activism was the escalation of violence in colonial Algeria. The poetics formulated by these writers suggests that blankness, weakness, and withdrawal from action are not symptoms of impotence and political escapism in the face of historical events, but deliberate literary strategies aimed to neutralize the drive to dominate others that characterized the colonial project. (shrink)

Si vous n'aimez pas les chiens, si la peine de vie vous semble aussi discutable que la peine de mort, si vous ne vous esclaffez pas quand on rajoute des moustaches à la Joconde, si vous souhaitez la béatification de Monica Lewinsky, si l'art post-moderne vous paraît nullisime, si vous considérez que, pour faire partie d'une commission d'éthique, il faut être un salaud, si vous n'êtes pas un inconditionnel de Marcel Duchamp, de Marguerite Duras, de René Char, de Georges (...) Brassens ou d'Olivier Messiaen, si vous tenez l'horoscope pour une niaiserie, l'homéopathie pour une charlatanerie, le patriotisme pour une infamie et les supporters sportifs pour des Untermensch, alors vous êtes atypique et vous vous exposez à quantité d'embêtements. mais vous trouverez peut-être une consolation dans ce livre. Si, au contraire, vous êtes politiquement correct, vous y trouverez prétexte à fourbir vos armes. Et dans l'hypothèse improbable où vous ne seriez ni correct ni abject, il vous aidera à rejoindre la réalité. (shrink)

Literature, Ethics, and Decolonization in Postwar France: The Politics of Disengagement analyzes the political and ethical implications of a particular literary style, characterized by “the aesthetics of blankness” and a narrative strategy of “exhaustion,” “weakness,” and “slowness,” that Daniel Just attributes to Roland Barthes, Maurice Blanchot, Albert Camus, and Marguerite Duras. Just’s main argument is built upon two axes, the first of which is an analysis of the historical and political setting in France. The second, larger axis comprises a (...) theoretical exploration of language’s indeterminate nature, the relationship between literary forms and politically charged times, and the prevalent view in the... (shrink)

O livro Amor pelo avesso: de Afrodite a Medusa. Estética da Existência entre antigos e contemporâneos, de autoria de Cassiana Lopes Stephan, fruto de sua tese em Filosofia apresentada na Universidade Federal do Paraná, é tecido por uma espécie de escrita realizada com o próprio sangue, como diria Nietzsche; em um texto filosófico visceral, de crise e agonia, a autora nos convida a participar de uma discussão sobre as perspectivas ético-políticas das relações amorosas. Tal incursão filosófica se dá desde os (...) antigos, com ênfase no estoicismo e no cinismo, levando-nos à aproximação tanto das reflexões contemporâneas de Michel Foucault, Pierre Hadot, Maurice Blanchot, Jean-Pierre Vernant, Sarah Kofman, Judith Butler, dentre outros, como também da inquietante literatura de Marguerite Duras e de produções cinematográficas baseadas em seus roteiros. (shrink)