Zugl.: Trier, Univ., Diss., 2006

This thesis is entitled ‘The "double movement”: parody in the work of Alain Robbe-Grillet, with particular reference to Un Régicide'.The principle objective of the thesis is to illustrate how a re-assessment of Pour un nouveau roman (1963) can explain the reasons behind the paradox of Robbe-Grillet's fiction and lead, consequently, to the reader's appreciation of the tension between meaning and meaninglessness in his novels. The thesis sets about this task in the following way: firstly, it examines the existing confusion over Pour un nouveau roman, and exposes the analytical weaknesses of both established interpretations of Robbe-Grillet's theory. Secondly, a new perspective of Pour un nouveau roman is offered - one which underlines the central significance of the paradoxical movement between the creation and destruction of meaning as outlined in the compilation. Next, this 'double movement' is identified as inherent to all literature, engaged in the dual process of textual assimilation and dissimilation. The self-conscious, ludic nature of the 'double mouvement de creation et de gommage' of Un Régicide is revealed to be essentially that of parody, since the reconstruction of past literary material within its narrative is later exposed and destroyed. Robbe-Grillet's first novel, rich in literary allusions and references, is a particularly dramatic conflict between the forms which it incorporates and their imminent subversion. In this sense, Un Régicide is seen to constitute the paradox of ail Robbe-Grillet's writing, in which the initial creation of meaning leads, through the deferral of a single, determinate significance, to an ultimate deception.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Les Gommes, Le Voyeur, La Jalousie, les trois premiers romans de Robbe-Grillet, constituent la premiére phase de l'oeuvre de l'écrivain. Dans cette étude il s'agira de voir ce qui sépare la vision du monde et l'écriture de Robbe-Grillet de la tradition littéraire qui l'a précédé, ce qui, de cette tradition, subsiste encore chez lui, et ce en quoi consistent l'originalité et la spécificité de l'univers romanesque robbe-grilletien. D'une part, Robbe-Grillet rompt avec les formes et normes romanesques établies, d'autre part, il crée son propre univers romanesque. Cette rupture est manifeste dans Les Gommes comme l'est l'apparition d'un nouvel espace littéraire dans Le Voyeur, et surtout dans La Jalousie. Pour bien comprendre l'art et la position théorique de Robbe-Grillet, pour bien comprendre son oeuvre, il est absolument indispensable de connaltre la rupture d'avec l' " ancien " et le début d'un processus littéraire propre a Robbe-Griliet. L'une et l'autre se dessinent clairement dans Les Gommes, Le Voyeur, et La Jalousie. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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No description available.

Commentary on the visual arts in the past decades has noted a shift towards a 'return to narrative', particularly in relation to painting, photography and video, but also media where narrative concerns have perhaps been marginalised, namely contemporary installation and sculpture. Artists as diverse as Simon Starling, Mike Nelson, Tracey Emin, Robert Gober and Mariko Mori have been the subject of a general announcement of narrative as being at the forefront of international contemporary art practice. Closer to home, artist curator Richard Grayson's 2002 Sydney Biennale (The World May Be) Fantastic, has also examined this renewed interest in the possibilities of narrative for contemporary visual art. / In terms of sculpture, 'narrative' artworks can simply refer to the depiction of an action taking place, as in a tableau. Metaphorical, political, or other theoretical contextualising of a work can be another type of 'story', interpreting the otherwise pure materiality of an object. 'New narrative' might be seen as a development of postmodernist approaches of the 1980's, as exemplified say in the paintings of David Salle, wherein differing narrative styles, referents, and subject voices coexist simultaneously. It is perhaps not coincidental that the demise in the rigid orthodoxy of prescribed meta-narratives in politics would coincide with the rise of narrativity and fiction in contemporary visual art practice. What might be different today is the extent to which specifically personal, 'occult', or political discourses often appear instead of, or along side, early postmodern 'surface' readings of artworks. Indeed this new interest in narrative has been described as a 'gleefully regressive step', by one author. / This research project attempts to chart some possibilities for narrative within contemporary sculpture and installation through a complementary and reflective studio practice combined with writing, with particular reference to notions of non-dualistic, complex and personal perspectives on the reading of artworks. In particular, my research has been informed by my perspective on some critical debates relating to James Joyce's Ulysses, and the novels of Alain Robbe-Grillet. The creative outcomes of this research, together with this exegesis (which combined form the 'thesis'), suggest that an understanding of divergent relativist, structuralist, and 'surface' understandings of narrative literacy approaches since the start of the twentieth century might add to our reading of some important recent developments in the visual arts. / Thesis (MVisualArts)--University of South Australia, 2004.

Commentary on the visual arts in the past decades has noted a shift towards a 'return to narrative', particularly in relation to painting, photography and video, but also media where narrative concerns have perhaps been marginalised, namely contemporary installation and sculpture. Artists as diverse as Simon Starling, Mike Nelson, Tracey Emin, Robert Gober and Mariko Mori have been the subject of a general announcement of narrative as being at the forefront of international contemporary art practice. Closer to home, artist curator Richard Grayson's 2002 Sydney Biennale (The World May Be) Fantastic, has also examined this renewed interest in the possibilities of narrative for contemporary visual art. / In terms of sculpture, 'narrative' artworks can simply refer to the depiction of an action taking place, as in a tableau. Metaphorical, political, or other theoretical contextualising of a work can be another type of 'story', interpreting the otherwise pure materiality of an object. 'New narrative' might be seen as a development of postmodernist approaches of the 1980's, as exemplified say in the paintings of David Salle, wherein differing narrative styles, referents, and subject voices coexist simultaneously. It is perhaps not coincidental that the demise in the rigid orthodoxy of prescribed meta-narratives in politics would coincide with the rise of narrativity and fiction in contemporary visual art practice. What might be different today is the extent to which specifically personal, 'occult', or political discourses often appear instead of, or along side, early postmodern 'surface' readings of artworks. Indeed this new interest in narrative has been described as a 'gleefully regressive step', by one author. / This research project attempts to chart some possibilities for narrative within contemporary sculpture and installation through a complementary and reflective studio practice combined with writing, with particular reference to notions of non-dualistic, complex and personal perspectives on the reading of artworks. In particular, my research has been informed by my perspective on some critical debates relating to James Joyce's Ulysses, and the novels of Alain Robbe-Grillet. The creative outcomes of this research, together with this exegesis (which combined form the 'thesis'), suggest that an understanding of divergent relativist, structuralist, and 'surface' understandings of narrative literacy approaches since the start of the twentieth century might add to our reading of some important recent developments in the visual arts. / Thesis (MVisualArts)--University of South Australia, 2004.

Zugl.: Regensburg, Univ., Diss., 2007

Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in French." Includes bibliographical references (p. 409-432).