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27 Οκτωβρίου, 2022

Next, the fresh narrator’s companion are profoundly connected to the new lake: “Derriere los angeles porte l’homme que raime se tient

Next, the fresh narrator’s companion are profoundly connected to the new lake: “Derriere los angeles porte l’homme que raime se tient

Instantly afterwards, the narrator happens upon other photographs, one that’s currently common to the viewer as it has started introduced, this new images that the girl lover got of your connection along side Adour

(14.) Discover Los angeles Chambre claire: “Toute photographic est united nations certificat de exposure. Ce certificat est le gene nouveau los cuales boy development an effective introduit dans la famille de l’ensemble des photo” (135).

That balance scratching House Chagrin indelibly, therefore the section upon which they hinges ‘s the river by itself. In this perspective, it’s the lake and this guarantees with the rest of Cosnay’s land, developed one another virtually and you may figuratively. Once the narrator tells the storyline out-of Bram van Velde, particularly, new events and anecdotes she provides get its place in good chronology that the river certifies, courtesy metaphor. More over, in the contemplating new lake, the new narrator gets sure out of a broader existential class, one that could have appeared obvious from the beginning, however, whoever truth is thus trivially conspicuous which needs verification from the a further level: “La compete passe effectivement” (62). The river recognizes all the narrator’s body gestures, and you may serves as a beneficial mute witness so you can this lady things along with her view. It notices her one another because the she acts so that as she refuses to behave: “Je viens au money des boulevards Alsace-Lorraine ainsi que Jean-Jaures, low loin de- l’Adour ainsi que non loin de- chez moi. J’ai jete les images prises par l’homme los cuales j’aime, je me suis allongee, victime de paludisme peut-etre, de- tremblements nouveaux, je myself suis allongee dans ce soleil qui regardait l’Adour, j’y suis, c’est le moment. Pas encore” (56).

In today’s lifetime of her story, Cosnay informs regarding her own inquiry with the one to rules and its particular historic factors:

Despite the fact that the previous couples evolves in the current, because second are confined into the early in the day, Bram and you will Marthe have a good package even more narrative tissue to the the bones than simply perform some narrator together with guy she wants

The chagrin you to Cosnay invokes within her examination of for the last try amply echoed in today’s, and you may somewhat for the a fact understood only just like the “Pierre M.” The fresh new narrator claims your since the a buddy, and you will refers to your as one whose worry ended up, sooner, debilitating. Initially he is said on text message, Cosnay wagers with the understatement and you can benefit out-of phrase to help you show how big is his distress: “Le twenty seven aout 2003, Pierre M. s’est donne los angeles mort dans son appartement de- la rue Saint-Maur. Apres united nations sejour durante hopital psychiatrique, il tenta de- trouver le performed” (18). The brand new disaster are his, of course; but it is maybe not their alone. Because of it afflicts brand new narrator as well. She imagines that she sees him, a-year . 5 immediately after his death, walking toward much financial of the Adour (18). She remembers looking in the their friend’s dry body, a human anatomy instantly made “transparent” from the demise (50). She says one Pierre M. is a writer, which at night in advance of the guy enough time suicide the guy had written in regards to the extremely problem out of creating (42). Pondering their dying, discover one thing that narrator sees extremely clearly in reality: “J’ai vu, real, ma mort” (18). In short, the latest narrator finds out herself reflected for the Pierre Yards., and his suffering is within some sense an echo out of the woman own.

Into the showing abreast of that it profile along with his part on novel, three factors have earned become listed. Earliest, Cosnay encourages their viewer to compare the happy couple your narrator which boy mode into the couples composed by Bram van Velde and Marthe Arnaud-Kuntz. It is a question of appeal however, and of the options attendant upon diegetic prominencing; but it is including likely up throughout the problem that the narrator knowledge for the viewing by herself and her problem, a difficulty one to will get very conspicuous regarding echo moments. Je n’ai rien dit de- lui, quand le n’est pas qu’il fait le concert tour de l’ensemble des villes suivant le ruban de- l’eau parmi les rues etroites ainsi que bien contournant les grandes epingles de l’ensemble des vastes counters bleues surmontees d’un pont inattendue, rouge, put ou ancien, et celle-ci forme de l’ensemble des arcs sous quoi vont les peniches” (29). Constantly in the actions, never ever fixed, the man is really as tough to seize because the Adour itself. Yet just like one to lake he takes up a privileged, main set, in the newest narrator’s real life and in the only she imagines. In the long run, it boy serves brand new narrator because the an issue of resource, allowing this lady to place her very own subjectivity towards shot: “Los cuales lui (l’aime, l’autre) soit objet ou bien que je le sois: meme tentation d’incertitude, flottement d’identite” (61). One to interest makes up about a great amount of what are the results inside book, as well as the narrator’s fight is patently one of the contacts as a consequence of and therefore Marie Cosnay encourages me to mirror abreast of chagrin and the certain shapes it switches into.

Cosnay underscores over and over the trouble of your interactions off the picture in addition to keyword, and this condition subtends much of exactly what House Chagrin must say on art and its own uses. “Je vais venir, j’y viens,” she assures us, “An excellent mon point de vue, au section d’incidence” (51), and you can surely among the points that name designates try a web site in which the verbal and the visual meet and you may meld, given that perform some currents inside the a lake. It’s an internet site you to remains right above the vista, constantly deferred rather than quite reached. Towards passage off visualize so you’re able to phrase–otherwise out-of term so you’re able to image, for example–cannot be done inside a totally high enough manner, predicated on Cosnay, is actually as a whole you’ll.

Brand new parable that Cosnay images right here has a lot to express towards processes you to she deploys in her book, of these processes is seriously sure upwards throughout the notion of the look. From the part of House Chagrin entitled “Photo dos,” Cosnay also provides a different parable established upon the latest photographic image, explicitly and overtly casting it this time around from the structure out of a story, given that narrative. “Il y avait cette histoire de- l’autre image,” says the fresh narrator, “et de quelque visualize you can, vue par l’autre, une fois, superbement. [. ] La photos parfaite de quelque femme real, belle, blanche, reconnaissable, de- sexe mais aussi de- cheveux prouvait qu’enfin quelque picked avait ete visible” (48). One to photo are an excellent foundational that for House Chagrin insofar given that they catches the main web site of your own novel’s geography. It’s innocent sufficient, since photos go, however it is subtended–a bit actually in such a case–because of the almost every other pictures which can be much more disturbing:

(thirteen.) Discover such “Ce fifteen novembre je suis malade, avec des reves apeures de breakup puis de- victoire finale et celle-ci, durante fin de- course, rendent bravery. Los angeles concern specific concerne la and bonne qualite, los angeles along with bonne certitude des instances los cuales l’on ne voit pas” (9); “Ce suc du corps n’est including, dirait Ovide. Il demeure l’image a great tirer de- cela, les lignes good voir derriere le qu’on ne voit jamais” (38); and you will “En ce qui concerne chacune des lettres de- dessine le qu’on ne voit pas” (73).

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