Troisieme partie Dominique Rabaté "Chapitre VII: Marguerite Duras et les paradoxes du romanesque" Petite physique du roman / "Seuls demeurent" : Poétique de l'impersonnel chez Duras et Blanchot / Sylvie Loignon. Le passager de la rue Saint-Benoît / Maud Fourton Sublime, forcément sublime... Marguerite Duras et Maurice Blanchot autour de Louis-René de Forêts: Sublime musique, enfance / Carol Murphy L'absences et le neutre. Analyse d'un écart entre Camus, Duras, et Blanchot / Maïté Marciano Duras-Blanchot. La communauté ou le "Pas de plus vers l'abîme de vérité" / Simona Crippa L'absolument féminin. Blanchot lecteur de La Maladie de la mort / Éric Hoppenot Entre Duras et Blanchot. Comment faire "Communauté"/ Llewellyn Brown La destruction, le désastre. L'avenir selon Duras et Blanchot / Christophe Meurée -- Deuxième partie Archives plurielles de Duras Les inédits de Marguerite Duras dans les archives. Fonds de tiroir ou perles rares? / Sophie Bogaert "Le film maigre". De la création de l'espace hybride dans Le Navire Night de Marguerite Duras / Youlia Maritchik-Sioli De L'inachevé vers l'absent. Le personnage, allégorie du processus d'écriture dans Le Ravissement de Lol V. Stein / Lauren Upadhyay La poétique de la déambulation dans le cinéma durassien. Le processus créateur du film Le Navire Night / Luciene Guimaraes de Oliveira -- Troisieme partie Carnet Critique Dictionnaire Marguerite Duras, Bernard Alazet, Christiane Blot-Labarrère (éd.) / Sarah-Anaïs Crevier-Goulet Simona Crippa, Marguerite Duras / Sylvie Loignon Dominique Rabaté "Chapitre VII: Marguerite Duras et les paradoxes du romanesque" Petite physique du roman / Sylvie Loignon.
Summary:
"If Maurice Blanchot seems to accompany the entry into literature of Marguerite Duras, by writing the first review of her first novel, Les Impudents , in 1943, the two writers maintain a form of friendly and intellectual companionship. Blanchot also frequented the 'rue Saint-Benoît group,' around the couple formed by Dionys Mascolo and Marguerite Duras, and Robert Antelme. The same lines of thought (on communism and Jewishness in particular), similar political commitments unite these writers and intellectuals around the review 14 Juillet, the Manifesto of 121, or even the student-writers action committee during the events of May 1968. These friendly and intellectual relations are not without resonance in the works of each of the writers. However, for the moment, these relationships have been relatively little explored by critics. Blanchot is a reader and critic of the Durassian work. It is doubly so, one might say, as it seems to have played a role not only in the reception of Duras's work, as shown by his articles - 'The Pain of Dialogue' (1956), 'The Narrative Voice' (1964), 'Destroy' (1970) - and his short essay La Communauté des amants (1983) based on La Maladie de la mort (1982); but also in the genesis of certain texts, like Abahn Sabana David (1970), whose manuscript Duras gave him to read. As David Amar points out, Duras for her part 'regularly evokes [...] Blanchot as the ultimate figure or reference in literature.' In fact, to cite only Abahn Sabana David , reading Blanchot's article 'Being Jewish' influenced the writing of this text and the manuscripts of the film adaptation, Jaune le soleil, still testify to the importance of the critic and novelist, since they are traversed by his beautiful expression: 'one must love to destroy,' which he had used in connection with Détruire dit-elle. The works of the two writers reveal singular elective affinities, this is notably the case of Lol V. Stein's Ravishment , whose themes and writing are reminiscent of those of Waiting for Oblivion . Much more, the night, the absence and the disappearance form the crucible where the work of each writer originates. Thus, in That's all, the first version of which was published a few months before his death, Duras evokes 'the book to disappear' as being the title of his last book to come... The same questioning of limits underlies the writing and reveals its fault and wound. It will therefore be appropriate to take an interest in the various relations that are sketched out between Duras and Blanchot, not only according to the biographical and historico-cultural prism, but also according to a questioning of the so fundamental notions of 'neutral,' of 'community.' of 'impersonal,' of 'disappearance.' It will also be a matter of analyzing Blanchot's influence in Durassian writing and hermeneutics, bringing to light the main lines of a common definition of literature, bringing out the theoretical and thematic concerns that feed the works of both authors. Ultimately, what are the differences and points of convergence between Duras and Blanchot on the aesthetic, poetic and political levels?" -- Publisher's website.
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