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La dynamique masculin/féminin dans la dernière période de la création littéraire de Marguerite Duras (1980-1996) à travers ses romans et récits

Abstract : The idea for this thesis arose from a certain documentary void regarding a whole segment of Duras' work : her final years...despite being a period in which she often came in for harsh criticism, seem to us her most fruitful and accomplished, during which she avoided dwelling on the psychology of her protagonists, and opted for a narrative structure based more upon certain archetypes (such as that of the ideal man, epitomised by Andréa, the younger brother, or Ernesto) hence going against modern trends. This return to an archaic style of literature is symptomatic of Duras' quest for an even more radical "feminology" than that of Antoinette Fouque. But is similar in its connection with Michelet's witch.Only the witch/sorcerer is capable of detecting the unspeakable and retranscribing it, not by the magic of the Word (directly borrowed from the male-God logos) but by the force of the unsaid. Thus Duras assumes this abdication in the face of rhetoric. So the long-awaited male, Yann Andrea, finally joins the novelist. This flesh and blood archetype inspires in her a new sense of literary ceativity like certains ladies in the Middle Ages inspired by their champions.Our novel approach to Duras tries to show how she treated in an archaic/anachronistic way what others considered as the couple's contemporary problems. What emerges from this carefully crafted discrepancy is a form of dialectic we'll call "The dynamic of masculine/feminine in the last period of literary creativity of M.D. through her novels and narratives.
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Elahe Aghazamani. La dynamique masculin/féminin dans la dernière période de la création littéraire de Marguerite Duras (1980-1996) à travers ses romans et récits. Littératures. Université Sorbonne Paris Cité, 2017. Français. ⟨NNT : 2017USPCA101⟩. ⟨tel-02336097⟩

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