O objetivo da tese é estudar, em um primeiro momento, as transformações do triângulo amoroso nos romances de Marguerite Duras que retratam uma crise conjugal: Le Marin de Gibraltar (1952), Les Petits chevaux de Tarquinia (1953), Moderato Cantabile (1958), Dix Heures et demie du soir en été (1960) e Le Ravissement de Lol V. Stein (1964). Esses romances colocam em cena um casal cuja separação é provocada pela chegada de um desconhecido. Essa terceira pessoa forma então um novo par com um dos membros do casal anterior. Em algumas dessas obras, aquele que ficou só se torna a terceira pessoa e passa a olhar o casal recém constituído. A originalidade do triângulo amoroso em Marguerite Duras está no fato de que esta terceira pessoa, contemplando o nascimento de um novo amor, não sofre com a perda do parceiro, nem sente ciúme; ao contrário, sente prazer em ver, ao invés de amar. Assistir a esse encontro lhe proporciona um arrebatamento. Em um segundo momento, veremos que essa estrutura triangular remete aos romances familiares nos quais se encontra o triângulo amoroso original: La Vie tranquille (1944), Un Barrage contre le Pacifique (1950), LAmant (1984), La Pluie dété (1990) e LAmant de la Chine du Nord (1991). Nessas obras, o casal é formado por dois irmãos e a terceira pessoa, pelo amante. Como o coito fraterno é ilícito, a terceira pessoa pode ser um substituto possível do irmão. Outro recurso encontrado é o voyeurismo. Unir-se ao irmão não é lícito, porém a possibilidade de ver o irmão ou a irmã juntar-se a uma terceira pessoa permite ao voyeur viver o amor proibido. Assim, esta tese pretende demonstrar como a cena primitiva, que retrata o amor incestuoso nos romances familiares, reaparece disfarçada em triângulos amorosos nos romances que representam a crise conjugal. / The objective of this thesis is to study, firstly, the transformations of the loving triangle in relationship in Marguerite Duras novels that portrays the marital crisis: Le Marin de Gibraltar (1952), Les Petits chevaux de Tarquinia (1953), Moderato Cantabile (1958), Dix Heures et demie du soir en été (1960) Le Ravissement de Lol V. Stein (1964). These novels show a couple whose separation is caused by the arrival of a stranger. This third person then starts a new couple with one of the members of the first couple. In some of the pieces, the one who is left aside becomes a third person and starts to look the new couple. The originality of the loving triangle, in Marguerite Duras, is in the fact that this third person, by contemplating the birth of a new love, does not suffer with the loss of the partner, or feels jealousy, by the contrary, feels pleasure watching instead of loving. The view of this union makes him feel rapture. In a second moment, we will see that this triangle structure refers to the family novels where the original loving triangle is found: La Vie tranquille (1944), Un Barrage contre le Pacifique (1950), LAmant (1984), La Pluie dété (1990), LAmant de la Chine du Nord (1991). In these pieces the couple consists in brother and sister and the third person is the lover. As fraternal coitus is prohibited, the third person may be a possible substitute for the brother. Another resource found is voyeurism. Fraternal union is not licit; however the possibility of watching the brother or sister with a third person allows the voyeur to live the prohibited love. Therefore, this thesis intends to demonstrate how the primitive scene, that portraits the incestuous love in familiar novels, reappears disguised in loving triangles in the novels that represent marital crisis.

Cette thèse propose d’analyser comment la prostitution dans l’oeuvre écrite de Marguerite Duras se décline sous différentes formes. En croisant histoire littéraire,philosophie et psychanalyse, ce travail montre que la prostitution, loin d’être un simple motif,participe à l’acte créateur. L’écriture de Duras, façonnée par l’écart, est constamment prise dans une tension productrice de sens : c’est depuis l’écart en effet que l’écrivain construit son oeuvre (écart par rapport à la doxa, par rapport à la langue), préférant subvertir la norme plutôt que de la suivre.Nous commencerons par envisager la prostitution d’un point de vue thématique : ce motif, prégnant dans l’oeuvre depuis les premiers textes, tisse une véritable fantasmatique et donne à voir une oeuvre qui, renversant l’axiologie, sacralise le profane et fait de l’écart son centre. La prostitution, véritable creuset de l’écrit, devient dès lors un enjeu poïétique (elle fonde l’écriture même). Mais au-delà de l’idéalisation d’un don de soi, il appert que la prostitution a un enjeu plus profond : un enjeu métaphysique. Nous montrerons ensuite comment le fait de s’offrir participe d’une quête infinie, celle de l’Absolu. Proposer son corps est un acte tendu entre désir et deuil et s’apparente à une recherche de l’Alèthéia (la vérité par le dévoilement) plus qu’à une simple transaction dépourvue d’érotisme. Dans tous les cas, se prostituer relève avant tout d’une mise en scène où la théâtralité domine ; c’est ce point que nous analyserons en dernière partie. À partir des années 1980 le rapport de la prostituée à la vérité évolue, et l’écart, plus que le rapprochement entre les êtres, est monnayé. / This dissertation analyses the different meanings of prostitution in the writings of Marguerite Duras. Through the intersecting analytical lenses of literary history, philosophy and psychoanalysis, our research shows that prostitution, far from being a simple subject, is inherent to the creative art and act of the author. Writing, for Duras, is the product of a creative tension shaped by distance : the very margin (away from the doxa, the language itself) from which the author crafted her work is the creative force that informs her desire to diverge from the norm and effectively strive to overturn rather than follow it.We will first consider the thematic of prostitution – prevalent from her earliest texts – throughout Duras’s work and how it weaves a veritable fantasy matrix proposing a body of work that reverses the common axiology by sacralizing profanity and placing the margin at the center. Prostitution becomes a melting pot of the writing process and reveals the agenda of the potentialities within creation (it shapes writing itself). Nevertheless, beyond the idealization of giving oneself to another, prostitution runs deeper than the skin : it has ametaphysical sense. Indeed, we demonstrate how offering one’s body is linked to an infinite quest or thirst that only the Absolute of life can quench. Offering one’s body is a tense act situated between desire and mourning and that can be interpreted as the quest for Aletheia(truth through unveiling), rather than a simple transaction free of any eroticism. In any case,to prostitute oneself is above all, a staged performance deeply rooted in theatricality, and this point is analyzed in the last part of our work. After the 1980s the rapport between the prostitute and the truth changes and distance, far more than the rapprochement between bodies and beings, is then paid in cash.

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In this essay I examine Marguerite Duras’ anticolonial standpoint in the Swedish translation of hernovel Un barrage contre le Pacifique. The analysis demonstrates that the text itself reveals traces ofa colonial and problematic view of the local population of the floodplains where the novel is set.Certain passages regarding both the white protagonist family and the locals in the novel is examinedand discussed from a postcolonial perspective. The way the inhabitants of the novel are describedand the way the narrative is focalized creates differences between the white colonial family and thelocal population. This results in a highlighting of the suffering of the colonial family, and silencesthe voices of the locals.In dialogue with earlier research on Duras and the postcolonial, this essay especially focuseson the way the local women and children are portrayed in the novel. It criticizes the view of Durasas a subversive anticolonial voice, since such a view ignores the novel’s tendency to reproduce aracist portrayal of the Other. Even though the novel itself gives voice to an explicit criticism of thecolonial system, this is in no way a guarantee for it not to be reproducing harmful ways ofportraying colonized populations in a colonial tradition.

Cette étude décrit la singulière conception de la responsabilité qui se dégage des œuvres de Marguerite Duras sur la Seconde Guerre mondiale, en raison de son approche unique des thèmes de l'altérité (internes et externes) et des « Autres ». Mon étude montre comment les œuvres de Duras (les textes littéraires et les films) créent une interaction entre la mémoire et l'histoire, d'une manière qui offre une alternative aux récits et narratives dominantes de son époque. Mon analyse de l’œuvre de Duras se base sur trois cadres théoriques: une approche historique de la France, de la Seconde Guerre mondiale et de la mémoire collective française de ces années ; une perspective féministe de l'écriture des femmes sur la guerre ; et enfin, les théories du témoignage de l'Holocauste. Cette analyse multidisciplinaire, historique, culturelle, philosophique et éthique, me permet de démontrer comment les œuvres de Duras contribuent à la discussion publique autour de la responsabilité de la France par rapport à son histoire. Plus largement, mon étude permet de repenser le concept de « témoignage » et ses fonctions éthiques. Mon argument principal est que la lecture des œuvres de Duras en tant que témoignage offre une voie alternative concernant les questions historiques et les questions de la mémoire, de la narration et de la représentation. Cette lecture permet également de reconsidérer des concepts multi-niveaux tels que : la guerre, les relations de genre en temps de guerre, la vengeance, l’ennemi, la torture et la justice. Par conséquent, à travers l’analyse des œuvres de fiction et des récits autobiographiques de Duras, l'étude démontre comment la pratique du témoignage de l’auteure peut interpeller les lectrices et les lecteurs, en les encourageant à assumer une responsabilité au présent pour les événements du passé. / This study describes the unique conception of responsibility derived from Marguerite Duras' works about World War II by virtue of her unique approach in these works to the themes of otherness (both internal and external) and "Others." It demonstrates how Duras' works (both texts and films) create an interplay between memory and history in a way that offers an alternative to the dominant narratives of her era as well as to its dominant modes of narration. The discussion unfolds within three theoretical frameworks: the historical discourse about France in WWII and about the French collective memory of these years; the feminist discourse about women's writing on war; and the discourse about Holocaust testimony. This historical, cultural, and philosophical-ethical multidisciplinary analysis allows me to demonstrate how Duras' works contribute to the ongoing discussion about the French responsibility concerning their history and at the same time, more broadly, to rethink the concept of "testimony" and testimony’s ethical functions. My main argument is that reading Duras' works as testimonies offers an alternative way of relating to questions of history, memory, narration, and representation, as well as to the meanings of multilayered concepts such as war, gender power relations in war, revenge, enemy, torture, and justice. Hence, the study demonstrates through the fictional and autobiographic works of Duras how the practice of testimony can involve an assumption of responsibility for past events in the present.

O objetivo da tese é estudar, em um primeiro momento, as transformações do triângulo amoroso nos romances de Marguerite Duras que retratam uma crise conjugal: Le Marin de Gibraltar (1952), Les Petits chevaux de Tarquinia (1953), Moderato Cantabile (1958), Dix Heures et demie du soir en été (1960) e Le Ravissement de Lol V. Stein (1964). Esses romances colocam em cena um casal cuja separação é provocada pela chegada de um desconhecido. Essa terceira pessoa forma então um novo par com um dos membros do casal anterior. Em algumas dessas obras, aquele que ficou só se torna a terceira pessoa e passa a olhar o casal recém constituído. A originalidade do triângulo amoroso em Marguerite Duras está no fato de que esta terceira pessoa, contemplando o nascimento de um novo amor, não sofre com a perda do parceiro, nem sente ciúme; ao contrário, sente prazer em ver, ao invés de amar. Assistir a esse encontro lhe proporciona um arrebatamento. Em um segundo momento, veremos que essa estrutura triangular remete aos romances familiares nos quais se encontra o triângulo amoroso original: La Vie tranquille (1944), Un Barrage contre le Pacifique (1950), LAmant (1984), La Pluie dété (1990) e LAmant de la Chine du Nord (1991). Nessas obras, o casal é formado por dois irmãos e a terceira pessoa, pelo amante. Como o coito fraterno é ilícito, a terceira pessoa pode ser um substituto possível do irmão. Outro recurso encontrado é o voyeurismo. Unir-se ao irmão não é lícito, porém a possibilidade de ver o irmão ou a irmã juntar-se a uma terceira pessoa permite ao voyeur viver o amor proibido. Assim, esta tese pretende demonstrar como a cena primitiva, que retrata o amor incestuoso nos romances familiares, reaparece disfarçada em triângulos amorosos nos romances que representam a crise conjugal. / The objective of this thesis is to study, firstly, the transformations of the loving triangle in relationship in Marguerite Duras novels that portrays the marital crisis: Le Marin de Gibraltar (1952), Les Petits chevaux de Tarquinia (1953), Moderato Cantabile (1958), Dix Heures et demie du soir en été (1960) Le Ravissement de Lol V. Stein (1964). These novels show a couple whose separation is caused by the arrival of a stranger. This third person then starts a new couple with one of the members of the first couple. In some of the pieces, the one who is left aside becomes a third person and starts to look the new couple. The originality of the loving triangle, in Marguerite Duras, is in the fact that this third person, by contemplating the birth of a new love, does not suffer with the loss of the partner, or feels jealousy, by the contrary, feels pleasure watching instead of loving. The view of this union makes him feel rapture. In a second moment, we will see that this triangle structure refers to the family novels where the original loving triangle is found: La Vie tranquille (1944), Un Barrage contre le Pacifique (1950), LAmant (1984), La Pluie dété (1990), LAmant de la Chine du Nord (1991). In these pieces the couple consists in brother and sister and the third person is the lover. As fraternal coitus is prohibited, the third person may be a possible substitute for the brother. Another resource found is voyeurism. Fraternal union is not licit; however the possibility of watching the brother or sister with a third person allows the voyeur to live the prohibited love. Therefore, this thesis intends to demonstrate how the primitive scene, that portraits the incestuous love in familiar novels, reappears disguised in loving triangles in the novels that represent marital crisis.

A escritura frente a um passado violento e traumático é mais do que nunca orientada pelo que não se pode dizer, por aquilo que só apareceria inautenticamente, sejam estas marcas psíquicas ou físicas. No entanto, ela pode se fortalecer frente ao indizível e encontrar formas de apresentá-lo, transformando a relação da literatura com o real. Essa transformação sofre influência de outros campos do conhecimento na mesma medida em que os influencia. Este trabalho se propõe a analisar a obra La Douleur e a forma como Marguerite Duras enfrentou, por meio de sua escritura, o abismo produzido pelo evento da Segunda Guerra Mundial, contribuindo para sua transposição. O trabalho incide também, direta e indiretamente, sobre os processos de busca do direito à memória e à verdade, questionando como usualmente se dá a busca da verdade em processos de justiça de transição, e delineando as possibilidades de a literatura lidar com as feridas do passado, trazendo uma outra forma de se buscar a verdade e o sentido. / Writing in face of a violent and traumatic past is more than ever oriented by what cannot be said, by what would only appear inauthentically, whether mental or physical marks. Nevertheless, writing can be strengthened in face of the unspeakable and find ways to represent it, transforming the relationship between literature and the real. Such transformation influences other fields of knowledge to the same extent that it is influenced by them. This work intends to analyze the book La Douleur and the way by which Marguerite Duras faced, through writing, the abyss produced by Second World War, contributing to its transposition. This work also focuses on and influences, directly and indirectly, the search for the right to memory and truth, questioning how the search for the truth is usually held in transitional justice systems, and outlining the possibilities of literature dealing with the wounds of the past, bringing another way to search for truth and meaning.

Les études sur Marguerite Duras (1914-1996) sont innombrables et abondantes en France, ainsi qu’en Chine. Le présent travail a dévoilé, à la lumière des méthodes empruntées à la littérature comparée, à l’analyse textuelle, à l’écriture féminine, et à l’autobiographie, comment l’œuvre de Marguerite Duras a été reçu dans le monde littéraire contemporain chinois, en dressant un bilan de la réception de l’œuvre durassienne par le biais de la traduction, par la réception de l’écriture féminine, et par le renouvellement de l’art narratif et de la technique créative dans le monde littéraire contemporain chinois. L’étude de la réception de l’œuvre durassienne en Chine à travers l’écriture romanesque de certains écrivains contemporains chinois qu’elle a influencés permet un regard particulier et une autre compréhension possible sur Marguerite Duras. / Studies on Marguerite Duras (1914-1996) in Both China and France are innumerable and abundant. By using the critical methods of literary comparison, textual analysis, feminism and autobiographical writing, etc, this thesis intends to make a survey of the reception of Duras in Chinese Contemporary literature, focusing on the aspects of translation studies, feminine writing, and narrative creativity. Meanwhile, studies on several Chinese writers deeply influenced by Duras can provide a unique perspective and different understanding to our research on this French writer.

Chaque texte de Marguerite Duras nous amène à la rencontre d’une insaisissabilité qui réside dans toutes ses œuvres. Celles-ci, sans dériver d’un simple art romanesque ayant pour but l’élaboration de l’écriture, débouchent sur une différenciation narratologique, figurative ou imaginaire. Dans la première partie, nous analysons la différenciation romanesque temporelle. L’imprévisibilité nous dévoile un temps perturbé qui doit se modifier selon son propre mécanisme de différenciation : l’intemporalité narrative. Cette remise en question de la chronologie nous conduit au problème de la bordure textuelle en tant que lieu de collision entre deux éléments opposés, tels que l’oubli et la mémoire. Nous analysons dans la deuxième partiecette ambivalence spatiale qui joue un rôle primordial, en tant que source dela différenciation propre à la création durassienne. La différenciation opère également dans les rapports qu’entretiennent les personnages. Produit par le dérapage des mots, l’échec de communication en altère les figures. Dans la troisième partie, nous examinons la présence d’autrui, lequel, dans ses images successives, échappe constamment à l’identification ou à l’unification qui lui donnerait un soi substantiel. La recherche de l’altérité ne porte pas uniquement sur autrui, mais se retourne sur nous-mêmes, parce qu’elle se prolonge à travers l’expérience de l’autre à l’intérieur du soi. La différenciation interroge ainsi la subjectivité des lecteurs eux-mêmes. La lecture d’une œuvre de Duras n’est pas un processus soumis à une progression rationnelle, superficielle, mais un approfondissement menant à une exploration de l’intime. / In all of Marguerite Duras’ works, we encounter an impossibility of comprehension. Duras did not write for the sake of developing her art ; her works display a narrative,figurative and imaginative differentiation. In the first section of this essay, we analyse chronological differentiation in hernovels. The unpredictable chronology, due to the mechanism of differentiation, resultsin a narrative without a clear time line. In the second section, the problem of textual ambiguity, that is, the intersection ofopposites, such as memory and oblivion, is discussed. We analyse the role which thisambiguity plays as a source of differentiation in Duras’ work. In the third section, we examine the role of differentiation in the relationships between characters. The inadequacy of words leads to misunderstanding, and alienation. Because of miscommunication, characters are unable to determine the essential personality or identity of others. Our misunderstanding of others affects not only our relationships with them, but also our understanding of ourselves on a personal level. Differentiation plays an important role in the subjective experience of thereader. Reading Duras’ work is not a process of understanding a superficial, logical progression, but a deep exploration of oneself.

Marguerite Duras (1914-1996) et Eileen Chang (1920-1995), deux écrivaines du 20e siècle, ont des sources spécifiques d’inspiration : Duras, née en Indochine ; Chang, née à Shanghai. Enfance et expérience familiale constituent l’arrière-plan de la plupart de leurs œuvres. Les mondes que décrivent ces œuvres sont, en conséquence, définies par la douleur et par la souffrance – soit personnelle, soit collective. Le thème familial l’emporte dans les romans de chacun des écrivains. Il permet d’offrir une lecture psychanalytique de bien des romans des deux écrivains, et de les commenter selon le roman familial qui caractérise Duras et Chang. Mais l’enfant et les secrets de la famille, l’importance de l’image de la mère, ne sont pas le seul arrière-plan de l’œuvre de Duras et de Chang. Les deux écrivaines sont conscientes des conditions sociales et politiques qui prévalent et de la situation des femmes. En conséquence, une lecture psychanalytique des deux écrivaines ne doit pas ignorer ces conditions et la lucidité de chacune des écrivaines. Il doit rendre compte du lien entre l’histoire familiale et l’aptitude des deux écrivaines à traiter de questions plus larges. / Marguerite Duras (1914-1996) and Eileen Chang (1920-1995), two women writers of the 20th century show specific sources for their inspiration : Duras – was from Indochina, and Chang – was from Shanghai; childhood and family experiences offer the background of most of their works. The worlds they describe are consequently defined by pain and suffering – either individual or collective. The family theme prevails in the works of both writers. It allows to offer a psychoanalytic reading of many of their novels of each writer, and to comment them by reference to the family romance which characterizes Duras and Chang. But childhood, family secrets, importance of the mother image, etc., are not the only background of Duras and Chang’s works. Both writers were fully aware of the political and social conditions which prevailed, and of the women’s situation. Consequently, the psychoanalytic reading of both writers should not neglect these conditions and the lucidity of both writers. This reading should account for the connection between the family history of both writers and their ability to address broader issues.