No description available.

No description available.

No description available.

No description available.

No description available.

No description available.

Depuis la Révolution française où émerge le féminisme moderne, plus de deux siècles se sont écoulés, et la condition féminine a profondément changé à l’échelle mondiale. On distingue trois générations de femmes : universaliste, différentialiste et postmoderniste, qui se superposent. Le présent travail vise à étudier les deux premières générations de femmes en France et en Chine dans la période contemporaine, ainsi que les représentations littéraires du féminisme dans les deux cultures. Cette thèse est à la fois une étude des parallèles littéraires et une étude des influences. En confrontant les littératures et les théories féministes françaises et chinoises, nous tenterons d’examiner si elles soulèvent les mêmes questions, quels sont les apports de chaque génération, ainsi que les difficultés qu’elles ont rencontrées, et quels sont les invariants de chacune des deux générations féminines qui ont œuvré quasiment dans un même temps, mais dans deux espaces différents, voire séparés. De surcroît, une étude des influences permet de prendre la mesure de la réception des littératures et des théories féministes françaises en Chine. / Since the French Revolution, which foreshadows modern feminism, more than two centuries have passed, women’s status has changed profoundly on a world scale. We distinguish three generations of women: universalist, differentialist and postmodernist. The present work aims to study the first two generations of women in France and China in contemporary times, as well as the literary representations of feminism in both cultures. This thesis studies the literary parallels and the influences. By confronting French and Chinese feminist literatures and theories, we will try to examine if they raise the same questions: what are the contributions and the difficulties of each generation, and what are the invariants of each of the two female generations which took place almost at the same time, but in two different spaces. In addition, a study of influences reveals the reception of French feminist literatures and theories in China.

La thèse rend compte d’une tentative de repenser le rapport entre la pudeur et la littérature : non pas la pudeur dans la littérature ou une littérature de la pudeur mais le geste littéraire comme un geste de pudeur. Pour cela, la première partie de la thèse s’emploie à découvrir la pudeur (en français, en Occident), c’est-à-dire à tomber le voile des discours dogmatiques qui forgèrent le mythe d’une « pudeur féminine » depuis l’interprétation canonique de l’épisode biblique du « péché originel », pour mettre en évidence la nudité textuelle du sujet auctorial (du latin augeo qui signifie « augmenter » et qui donne le nom d’« auteur » en français). L’hypothèse est que sous le couvert d’une interdiction sexuelle et du voile posé sur le « féminin », la « pudeur féminine » dissimule une complexité générique : il s’agit de l’articulation problématique dont la littérature transporterait le secret entre les genres biologiques (humain-animal), les genres grammaticaux (masculin-féminin) et les genres du discours (religieux ou philosophique-littéraire). Dans une deuxième partie, la thèse examine les effets de la pudeur auctoriale à partir d’un corpus constitué de textes de Marguerite Duras et de Violette Leduc relevant des genres littéraires de l’intime mais dont la reprise fictionnelle est assumée par les auteurs : l’autobiographie (La Bâtarde et, dans une certaine mesure, L’Amant de la Chine du Nord), le journal et la lettre (Aurélia Steiner et L’Affamée). Cette étude est sous-tendue par deux axes de lecture qui mettent en évidence la déconstruction de « l’intérieur » à laquelle œuvre la pudeur : une responsabilité poétique et une franchise littéraire. / This thesis is an attempt to rethink the relationship between pudeur (a sense of shame) and literature : it is not about shame in literature or about the literature of modesty but about the literary act as an act of pudeur. The first part of the thesis is a discovery of modesty (in French, in the occident) ; in other words it is a dropping of the veil of the discourses which, since the canonical interpretations of « original sin » in the Bible, have forged the myth of a « female modesty ». This will highlight the textual nudity of the auctorial subject (« auctorial » : from the latin augere, meaning « to increase » which is at the root of the word for « author »). Under a covert sexual interdiction and a veil wrapped round the « feminine », female modesty dissimulates a generic complexity : the problematic articulation between species (human-animal), genders (male-female), and genres (religious or philosophical-literary) of which literature might hold the secret. In its second part the thesis examines the effects of pudeur auctoriale as revealed in a series of texts by Marguerite Duras and Violette Leduc. Among the intimate genres that these authors revisit in fiction there are : the autobiography (La Bâtarde and, to a certain extent L’Amant de la Chine du Nord), the diary and correspondence (Aurélia Steiner and L’Affamée). This study underlines the deconstruction from the inside towards which pudeur tends : a poetic responsibility and a literary honesty.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims at verify the implications in Marguerite Duras literary aesthetic by proposing the denial of representation, through transgression to the traditional narrative. Starting from three texts by Duras which dialogue with the cinematographic language Le camion (1977), Le Navire Night (1979) and La maladie de la mort (1983), this work, throughout three chapters, recognizes in these novels denounce writing, in which the language itself unveils and unmasks its mechanisms. The first chapter proposes the discussion about the different concepts of representation and the search of Duras writing for a possible beyond the truth of what the words hide. At a second moment, I reflect about the impossibility of Duras writing in express an absolute view about the world to be represented, where the dialogue with other languages is an attempt to overcome the condition of discontinuity appropriate to the existence. Finally, in the last chapter, the possible meanings in an aesthetic answer aiming at denying the representation is sought: Duras writing is recongnized as transgression and a refusal of the definitive. The demystifying sincerity to which Duras writing proposes to do, faces the collapse of rationality, with only the experience and limits of dissolution and certainty being left. / Este trabalho tem por objetivo verificar as implicações na estética literária de Marguerite Duras ao propor a negação da representação, através de transgressões à narrativa tradicional. A partir de três textos de Duras que dialogam com a linguagem cinematográfica, Le camion (1977), Le Navire Night (1979) e La maladie de la mort (1983), esse trabalho, ao longo de três capítulos, reconhece nesses textos uma escrita de denúncia, em que a própria linguagem se propõe a tirar máscaras e desvelar seus mecanismos. O primeiro capítulo propõe a discussão sobre diferentes conceitos de representação e a busca da escrita de Duras por um possível além da verdade que as palavras ocultam. Num segundo momento, buscase a reflexão acerca da manifesta impossibilidade da escrita de Duras em exprimir uma visão absoluta do mundo a ser representado, em que o diálogo com outras linguagens é uma tentativa de ultrapassar a condição de descontinuidade, própria da existência. Por fim, no último capítulo, questionam-se possíveis sentidos em uma proposta estética que visa a negar a representação: reconhece-se a escrita de Marguerite Duras enquanto transgressão e recusa ao definitivo. A sinceridade desmistificadora a que a escrita de Marguerite Duras se propõe depara-se com o desmoronamento da racionalidade, restando apenas ruínas da experiência e a dissolução de limites e certezas.

In this bachelor’s essay, I examine the importance of place in Marguerite Duras’ The Lover from 1984. By using an ecocritical approach I find that the concepts of “culture” and “nature”, or “human” and “environment”, are made undistinguished. I also find that colonialism is highly present, and the novel accords to the theories of the overlapping literary fields of ecocriticism and postcolonialism. Ecocritical postcolonialism maintains that non-white people have historically been likened to animals and thus have a similar relationship with colonisers as humans have with the non-human. In addition, I apply Michail Bachtin’s concept of the chronotope to the novel and conclude that the Mekong River, the Cholen district, the mother’s home, the desert, and France are the most significant chronotopes. They all represent time in some way – usually in the form of cultural history or the protagonist’s lifetime – and each one plays into the novel’s overarching views of colonialism and nature.