By Susan D. Cohen
The first entire learn of the narrative and stylistic features of all of Marguerite Duras' significant works. via shut textual readings with a selected concentrate on women's entry to language, this booklet indicates how Duras reviews and subverts dominant discourse. Duras' textual thoughts are defined inside a dialogue of narrativity which additionally addresses components of race and sophistication. Cohen demonstrates how Duras achieves the recognized ritual surroundings of her prose via specific recommendations which hook up with her critique of representation.
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Additional info for Women and Discourse in the Fiction of Marguerite Duras: Love, Legends, Language
Example text
Interspersed with it, there occur declarative sentences in the future, a form of literary anticipation usually indicative of an omniscient narrator. Yet Duras deconstructs that stance through the use of questions and expressions of uncertainty. For example, concerning Pierre in the hotel room with Claire, seen by the narrator or imagined by Maria: "He will know later that he saw her in the frame of the open window, between the olive trees. " (D-H, p. 172). Pierre then tells Claire that she is beautiful, but again doubt is interjected: "You are beautiful.
Since his is the narrating voice, this willingness elicits que,stions of "who": who is living the phantasm; who is speaking; who is seeing; whose story is being told? The answer is at once double, for Hold becomes part of Lol's phantasmal world, and single, for Lol is neither the one who sees nor the one who speaks. Indeed, the "story" the narrator recounts is not simply LoI's. It is primarily his, that is, the story of his own entry into phantasm. And the novel itself tells yet another tale: the story of his narration.
131 - emphasis added). This onomastic depersonalization empties the first person pronoun and prepares the phantasized fusion of identity effected through the use of "on" at the end of the scene: "The eternal Richardson, the man of T. Beach, is going to be useful. ] [on va se perdre de vue, de nom]" (Rav, pp. 131-132). " Precisely because "I" is no longer Jacques Hold, the two can not coincide on the narrative level. In its very structure, the sentence in which the name Jacques Hold first appears both evokes a unity which no longer obtains, and expresses the present disunity.
