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Between performance and narration: V...

Marion, Esther Norma.

Between performance and narration: Voice, agency and alterity in the work of Marguerite Duras (France).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Between performance and narration: Voice, agency and alterity in the work of Marguerite Duras (France).
Author:	Marion, Esther Norma.
Description:	156 p.
Notes:	Adviser: Thomas Trezise.
Notes:	Source: Dissertation Abstracts International, Volume: 66-08, Section: A, page: 2949.
Contained By:	Dissertation Abstracts International66-08A.
Subject:	Literature, Romance.
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3188630
ISBN:	9780542307034

Between performance and narration: Voice, agency and alterity in the work of Marguerite Duras (France).
Marion, Esther Norma.

Between performance and narration: Voice, agency and alterity in the work of Marguerite Duras (France). - 156 p.

Adviser: Thomas Trezise.

Thesis (Ph.D.)--Princeton University, 2005.

This dissertation, entitled "Between Performance and Narration: Voice, Agency and Alterity in the Work of Marguerite Duras," challenges the feminist categories that have dominated Duras criticism. I argue that the main concern of Marguerite Duras's work is indeed "the other," but framed and approached through the act of telling as a self-displacing relational experience. I trace the shifts in the terms (voice, agency and alterity) and working of this narrative relation through a close study of four major novels---"Moderato cantabile," "Le Ravissement de Lol Y. Stein," "Le Vice-Consul" and "Les Yeux bleus cheveux noirs"---in order to demonstrate how it informs her work both structurally and thematically. The first chapter focuses on "Moderato cantabile." I claim that the text is not grounded on a reenactment of an event as most critics claim, but rather that the experience of storytelling is privileged. The narrating self becomes a shared space through the splitting of voice and agency, producing a new place from which to see, one which disrupts chronological time and privileges the imaginary. I study the shifts in the constitution and overlap of self and other and real and imaginary, setting the framework for the second chapter on "Le Ravissement de Lol V. Stein." I argue that the narrator is incapacitated from taking possession of his subject and that the text is structured by the storyteller's experience of annexation by his subject, rather than as an encounter between two polarized terms. My third chapter examines how in her next novel, "Le Vice-Consul," Duras attempts to reconcile this view of narration as an experience of self-loss rather than expository with the need to recount. Telling is represented as self-serving, and fueled by the misreadings and demands of listeners. I argue that there is a fissure in this grim landscape---a temporal aperture based on substitution. In my fourth chapter, I look at how Duras connects this temporality with remembrance and representation in "Les Yeux bleus cheveux noirs," a text which has been largely read as a statement on sexual difference and politics.

ISBN: 9780542307034Subjects--Topical Terms:

212836
Literature, Romance.

Between performance and narration: Voice, agency and alterity in the work of Marguerite Duras (France).
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245 1 0 $a Between performance and narration: Voice, agency and alterity in the work of Marguerite Duras (France).
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500 $a Source: Dissertation Abstracts International, Volume: 66-08, Section: A, page: 2949.
502 $a Thesis (Ph.D.)--Princeton University, 2005.
520 # $a This dissertation, entitled "Between Performance and Narration: Voice, Agency and Alterity in the Work of Marguerite Duras," challenges the feminist categories that have dominated Duras criticism. I argue that the main concern of Marguerite Duras's work is indeed "the other," but framed and approached through the act of telling as a self-displacing relational experience. I trace the shifts in the terms (voice, agency and alterity) and working of this narrative relation through a close study of four major novels---"Moderato cantabile," "Le Ravissement de Lol Y. Stein," "Le Vice-Consul" and "Les Yeux bleus cheveux noirs"---in order to demonstrate how it informs her work both structurally and thematically. The first chapter focuses on "Moderato cantabile." I claim that the text is not grounded on a reenactment of an event as most critics claim, but rather that the experience of storytelling is privileged. The narrating self becomes a shared space through the splitting of voice and agency, producing a new place from which to see, one which disrupts chronological time and privileges the imaginary. I study the shifts in the constitution and overlap of self and other and real and imaginary, setting the framework for the second chapter on "Le Ravissement de Lol V. Stein." I argue that the narrator is incapacitated from taking possession of his subject and that the text is structured by the storyteller's experience of annexation by his subject, rather than as an encounter between two polarized terms. My third chapter examines how in her next novel, "Le Vice-Consul," Duras attempts to reconcile this view of narration as an experience of self-loss rather than expository with the need to recount. Telling is represented as self-serving, and fueled by the misreadings and demands of listeners. I argue that there is a fissure in this grim landscape---a temporal aperture based on substitution. In my fourth chapter, I look at how Duras connects this temporality with remembrance and representation in "Les Yeux bleus cheveux noirs," a text which has been largely read as a statement on sexual difference and politics.
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