Reviews du choc’ (throughout the study, due attention is given to such rhetorical features as asyndeton, anaphora, and anacoluthon). is is further promoted by Saint-Simon’s use of an idiolect in which the writer adapts conventional syntax in order to accommodate his exuberant depictions, as well as being fully attentive to their comic dimension. Saint-Simon was also present at, if not involved in, military conflict, and the sustained motif of ‘choc’ extends to the battlefield, on which he comments vividly, albeit as a courtier, and from a safe distance. e study concludes with two emphases: that of the Regency, beginning in , in which Saint-Simon was closely implicated; and that of the firmly anti-Gallican Bull Unigenitus, condemning Jansenism, promulgated in . Both have the virtue of reminding us of the duc et pair’s period of creative activity (the vast scope of his historical reference, his early promotion to his rank, at the age of eighteen, as well as his devotion to Louis XIII, all might tend to lead us to situate him in an earlier period than was in fact the case) and also his profound engagement with the confessional controversies of his age. is is probably not a book for the hardened Saint-Simon specialist; it is, however, a most enticing and insightful study of this vast if frequently intractable corpus of writing. S C’ C, O R P ‘Le Marin de Gibraltar’ de Marguerite Duras: lectures critiques. Ed. by J J and N L-T. Aix-en-Provence: Presses Universitaires de Provence. . pp. €. ISBN ––. As indicated by Najet Limam-Tnani and Joël July in their Foreword, this volume results from a study day ‘Le Marin de Gibraltar: Lectures réflexives et lectures créatives ’ organized in by Michèle Cohen, manager of La Non-Maison, an Art Centre in Aix-en-Provence, in collaboration with the CIELAM (Centre interdisciplinaire d’étude des littératures d’Aix-Marseille), and co-ordinated by Limam-Tnani. e event took place three years aer the publication of the first volume of the complete works of Marguerite Duras in the Pléiade, in which Bernard Alazet wrote a seminal notice on Le Marin de Gibraltar referred to by several of the contributors (Œuvres complètes, ed. by Gilles Philippe and others, vols (Paris: Gallimard, ), , –). e study day was held in order to discuss the peculiar place this novel occupies in Duras’s works: although repudiated several times by its author, it can be seen as a transition text from her first phase of writing to her later more mature texts. is slight, pocket-size volume contains eight articles arranged into three sections . In the first section, ‘Le Marin de Gibraltar: une matrice de l’œuvre de Duras?’, Joëlle Pagès-Pindon identifies elements in Le Marin (Paris: Gallimard, ) that Duras would later develop: the veiled biographical aspects of the text, the triangular nature of her concept of desire, and the setting up of her imaginary world, the ‘Durasie’. In a more impressionistic reflection, Catherine Gottesman compares two passages on the creation of the world, one in Le Marin and one in La Pluie d’été MLR, ., (Paris: P.O.L., ), noting how creation is linked to destruction. e second section is entitled ‘La quête de l’autre’. In fact, Liman-Tnani shows how in Le Marin, Duras continues the denunciation of colonialism undertaken in Un barrage contre le Pacifique (Paris: Gallimard, ), resolutely turning her back on the pro-colonialist, propagandist L’Empire français that she had co-written with Philippe Roques in (Paris: Gallimard). Covering known ground, André Not shows the various forms, including different literary models, that the quest for the ‘sailor’ takes. e next section, ‘La langue du Marin et l’idiolecte durassien’, is the most interesting and original. Sandrine Vaudrey-Luigi demonstrates how Le Marin constituted a space for experiments. In particular, she juxtaposes in an illuminating way two passages, one from Le Marin and one from L’Amant (Paris: Minuit, ), to show that the ‘débordements phrastiques surlignés syntaxiquement’ (p. ), normally thought to have been discovered in the later text, actually date back to...
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