Images recadrées et pensées du détail dans « Les sentiers de la création »

2015 ◽  
pp. 161-170
Author(s):  
Alice Scheer
Keyword(s):  
Octavio Paz ◽  
Main Subject ◽  
Original Function ◽  
Claude Simon ◽  
Michel Butor ◽  
The Way ◽  
Yves Bonnefoy

Among all pictures present in Albert Skira’s series « Les sentiers de la création », the reframed ones are worth considering. A personal eye appears through the details that become their main subject. What thoughts on detail do the reframed pictures express? They show a particular way of borrowing and quoting other people’s work. The way of inserting those pictures in the text are various and sometimes, the detail seems to be diverted from its original function or meaning. How are other people’s works quoted in those books? What is at stake in pictorial quotation when, being part of an author’s reflection on his own creation, the picture passes, through reframing, from an imaginative world to another. This paper will focus on the books containing “reframed details” that is to say those written by Pierre Alechinsky, Yves Bonnefoy, Michel Butor, Octavio Paz, Gaëtan Picon, Elsa Triolet and Claude Simon.

The French New Novel: Claude Simon, Michel Butor, Alain Robbe-Grillet

1970 ◽  
Vol 65 (4) ◽  
pp. 915
Author(s):  
Ralph Yarrow ◽  
John Sturrock
Keyword(s):  
Claude Simon ◽  
Michel Butor ◽  
New Novel

La clé de l’incomprehénsible

2018 ◽  
Author(s):  
Laura Stevenson
Keyword(s):  
Nous Avons ◽  
Claude Simon ◽  
Michel Butor ◽  
De Se ◽  
Nouveau Roman

À une époque où les habiletés de communication font partie des compétences de base du XXIe siècle, on se rend compte que l’obsession avec le langage dans les théories littéraires des années 50 et 60 est justifiée. La communication reste le rôle principal du langage, mais le contenu de cette communication a beaucoup changé. Presque chaque romancier appartenant au mouvement du nouveau roman utilise le langage de façon très différente de celle dont nous avons l’habitude en expérimentant avec le langage, en l’étirant de tous les côtés afin de lui donner une nouvelle dimension. Il ne s’agit plus de communiquer des idées et des sentiments, mais plutôt de se pencher sur le langage lui-même, de se réinventer pour que l’écrivain puisse mettre sur papier ce qu’il ressente : des sensations, des perceptions, des soupçons.Nathalie Sarraute, par exemple, perçoit le langage dans le sens mallarméen du terme, c’est-à-dire, « essentiel », complexe et qui produit du sens. En dehors du langage elle affirme l’existence d’une substance non-verbale qu’elle appelle « l’innommé » ou le « non-nommé » et le langage sert justement de médiateur entre les sensations que l’écrivain veut exprimer et son lecteur.Avec Robbe-Grillet, Claude Simon et Michel Butor, le langage dans le roman joue un rôle important car il force le lecteur à changer sa façon de lire afin de comprendre le roman. Les jeux de mots et l’insistance sur les descriptions des objets font penser le lecteur qu’il doit absolument trouver la clé afin de comprendre l’incompréhensible.

scholarly journals Ritual ukopa na nekropoli Velike Mrdakovice

2019 ◽  
Vol 5 (1) ◽  
pp. 31-63
Author(s):  
Toni Brajković
Keyword(s):  
Ceramic Material ◽  
Representative Sample ◽  
Roman Period ◽  
Main Subject ◽  
Scientific Papers ◽  
Material Evidence ◽  
Archaeological Excavations ◽  
Written Sources ◽  
Grave Goods ◽  
The Way

Continually used for burials between the 8th-7th centuries BC and early 3rd century AD, the necropolis at Velika Mrdakovica in the vicinity of Zaton (near Šibenik) is one of the best researched sites of this type in Liburnia. Some 130 incineration burials – mostly Roman – were discovered during the 1969 – 1974 archaeological campaigns, while recent excavations yielded 15 more. This exceptionally large number of Roman-period graves dated to the period between the 1st century AD and, roughly, early 3rd century AD is a representative sample that can help us reconstruct, or at least attempt to reconstruct, what has always been uppermost in experts’ mind – the burial ritual. As we lack written sources that would serve as first-hand testimony about the details of one of the most important and most sacred rituals in the lives of the Liburni – the burial ritual – we will try to reconstruct it with the help of material evidence: the grave goods and the way they were used for the purpose. Some issues arising from the interpretation of – mostly – luxurious ceramic material have been discussed in scientific papers and professional articles since the 1970s, only offhandedly dealing with the main subject of this paper. Based on the observations from earlier and – particularly – recent archaeological excavations, we will try to discuss in some detail the theses about certain elements of the burial ritual, while also giving a detailed description of the funeral process carried out by the Liburni of Velika Mrdakovica.

La présence et le fonctionnement de l’absence dans le Nouveau Roman

2011 ◽  
pp. 59-72
Author(s):  
Czesław Grzesiak
Keyword(s):  
Samuel Beckett ◽  
Political Engagement ◽  
Marguerite Duras ◽  
Text Generation ◽  
Nathalie Sarraute ◽  
Time And Space ◽  
Claude Simon ◽  
Michel Butor ◽  
Robert Pinget ◽  
Nouveau Roman

The French nouveau roman is characterised by lack of numerous elements typical of the traditional, commonly called Balzacian, novel. This lack involves the rejection of plot, omniscient narrator, psychological, moral and ideological factors, social and political engagement, the decomposition of character, the indeterminacy and gradual implosion of time and space as well as the text generation based on some lack or void. The aim of the article is to present these missing elements of the represented world and to discuss their functions in the works of leading practitioners of the nouveau roman, such as Samuel Beckett (predecessor), Michel Butor, Marguerite Duras, Robert Pinget, Alain Robbe-Grillet, Nathalie Sarraute and Claude Simon.

‘Nécessité de procéder obliquement’: Shaping Michel Butor's Image

2019 ◽  
Vol 58 (3) ◽  
pp. 315-331
Author(s):  
Mathilde Labbé
Keyword(s):  
Critical Discourse ◽  
Michel Butor ◽  
High Profile ◽  
Different Types ◽  
Shed Light ◽  
First Words ◽  
The Way

‘Difficile d'écrire sur soi ou sur ses écrits’ are the first words of a 2003 monograph that Michel Butor published about himself in Seghers's collection ‘Poètes d'aujourd'hui’. This series, like other collections of illustrated monographs, builds the writer's image through a combination of different types of discourse and several actors. Butor's volume on his own work tends to blur such distinctions and to challenge the collection's model, not only because of the intervention of the writer, but also because of Butor's interest in the processes through which his image is crafted. This paper examines a series of six monographs published on Michel Butor between 1964 and 2009, firstly, in order to shed light on the way the image of a high profile writer is carved in collections of illustrated monographs, and, secondly, to reach a better understanding of Michel Butor's relation to critical discourse and to his own image.

scholarly journals Les modes transgressifs de l’espace au profit de l’espace-temps dans La Route des Flandres (1960) de Claude Simon

2020 ◽  
Vol 44 (4) ◽  
pp. 27
Author(s):  
Moussa Camara
Keyword(s):  
Space Time ◽  
The Novel ◽  
Power Of Attorney ◽  
Claude Simon ◽  
Literary Movement ◽  
Fertile Ground ◽  
Narrative Techniques ◽  
The Way

<p>The subversion of traditional narrative techniques is one of the main facets of the New Roman. Claude Simon, one of the leading novelists of this literary movement, inscribes his creations in this movement. <em>La Route des Flandres</em> (1960) is in this respect a fertile ground for the transgression of classical spatial aesthetics. In this novel, space is subverted by the way it confuses the reader who seems, like the characters, to be trapped in a labyrinthine road where terror and death reign. Lost in cosmic opacity, the characters are disoriented and desperately search for landmarks. This partly explains the importance of space-time, which appears to be an alternative for the protagonists of the novel to free themselves from the concrete limits of the ruined battlefield, to find themselves in the dream, the power of attorney, the remembrance and reminiscences. Thus, through portraits, letters, newspapers and pictorial paintings, the characters travel here and now, through the thought generated from these objects, in space-time.</p>

Introduction

2019 ◽  
pp. 1-26
Author(s):  
Adam Guy
Keyword(s):  
Cultural History ◽  
Marguerite Duras ◽  
The Political ◽  
Nathalie Sarraute ◽  
Literary Field ◽  
Claude Simon ◽  
Michel Butor ◽  
Tel Quel ◽  
History Of ◽  
Nouveau Roman

The Introduction begins by detailing the emergence of the nouveau roman in its own place and time, looking at the political and cultural history of postwar France. The publisher Les Éditions de Minuit—the main sponsor of the nouveau roman—is introduced, and the earliest articulations of the nouveau roman are presented. Then, the works and signature styles of six writers are briefly surveyed, namely Michel Butor, Marguerite Duras, Robert Pinget, Alain Robbe-Grillet, Nathalie Sarraute, and Claude Simon. The ends of the nouveau roman and the rise of Tel Quel are considered. Then the particular force of the nouveau roman in the British literary field is introduced, with modernism and the end of empire as key determinants. Finally, each of the book’s chapters is summarized.

scholarly journals L’annulation du visage: une «morale substitutive»?

Cahiers ERTA ◽  
2021 ◽  
pp. 9-32
Author(s):  
Sophie Guermès
Keyword(s):  
Cultural Practice ◽  
Michel Butor ◽  
Henri Michaux ◽  
Current Context ◽  
Yves Bonnefoy

Cancelled face, a «moral substitute»? The pandemic affecting our world in 2020 leads us to question a centuries-old socio-cultural practice, namely the wearing of masks, and to rethink their use in light of the current context. Depending on the civilizations and eras, masks have had various functions: religious, social and artistic. None of these functions corresponds, however, to the recent use of masks. Henri Michaux, Jean Starobinski, Michel Butor and Yves Bonnefoy will help us to answer these questions: How the wearing of masks does change our relation to identity? our relationship with others? Does not seeing the whole face make it possible to see others better?

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