摘要:

In his play‐texts, Barthes punctures the critical methods he uses even as he is using them. He hovers between meaning and silence, between coherent argument and absurdity, between conformity to bourgeois critical and ideological stereotypes and evasion of all conformity. “Jacob's Struggle with the Angel” andS/Zare adduced to show how the game works on the level of the Barthian text.For Barthes, the play‐text was a subversion of bourgeois criticism and culture; a supposedly 'neutral third term' which enabled him to speak without 'borrowing from the bourgeoisie,' and without giving the bourgeoisie any idea or form with which to subvert his subversion; an expression and resolution of the problem of post‐ Marxist intellectuals who could unmask bourgeois culture, yet find no alternative to it within bourgeois society.But the play‐text was also a re‐creation which enabled the critic to overcome his alienation from himself, from others and from 'dead' cultural materials. Fabricated by the writer out of extant cultural forms, the play‐text invites the reader to fabricate a meaning out of its discrete entities. Fabrication is not only apraxiswhich reappropriates cuItura1 forms; it was also an expression of what Barthes conceived to be man's anthropological essence: his ability to

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1981.tb00773.x

出版商:Blackwell Publishing Ltd    

年代:1981

数据来源: WILEY

摘要:

Dans la perspective d'une psychologie historique, le climat de violence exacerbée qui caractérise le roman noir a partie liée avec les nouveaux dangers que les débuts de notre modernité inscrivent dans les rapports humains.Frogolettoamorce une mise en perspective critique de la mythologie familiale de son époque qui, préludant au discours oedipéen, cherche á réduire ces dangers en les rabattant sur la culpabilité du fils face á un pére décréré innocent. Latouche prend le contre‐pied de cette transcription tendancieuse du conflit familial en faisant du personnage paternel le principal responsable de passions face auxquelles seule sa mauvaise foi lui permettra, plus tard, de se poser un justicier. Pour une préhistoire littéraire de la psychanalyse, l'apport de ce roman trop mtconnu rtside ainsi dans le fait qu'il dtvoile la médiation paternelle dont l'occultation serait, selon les analyses de René Girard, I'enjeu essentiel de

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1981.tb00774.x

出版商:Blackwell Publishing Ltd    

年代:1981

数据来源: WILEY

摘要:

A partir d'une étude des images utiliées dans la description des personnages, cet article se propose de démontrer que, dansMademoiselle de Maupinde Théophile Gautier, le culte de la beauté extérieure et la fascination quasi fétichiste de la surface des êtres dissimulent une angoisse devant les profondeurs de l'âme qui jure sensiblement avec les ≪thèses≫ arrogamment provocatrices du roman. Gautier, partisan de l'art pour l'art, se veut paien, surtout dans sa conception de I'trotisme, mais I'analyse du discours contradictoire et en quelque sorte mensonger du roman montre que son auteur est fortement influencé par le dualisme chrétien, qui, a I'époque romantique, irnplique une suspicion constante des sens et une inquiétude plus ou moins prononcée devant l

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1981.tb00775.x

出版商:Blackwell Publishing Ltd    

年代:1981

数据来源: WILEY

摘要:

In the grotesque mode (passages from d'Aubigné, Cyrano and others) snow bedecks its victims with flour, sugar, cream, wig, foam, falling feathers, or spit from heaven, giving them a caricatural, comic, or monstrous aspect. Many of these images also appear in poetry whose basic allegiance is to theprécieuxtradition (Gautier'sFantuisies d'hiver), but the mockery is gentler: snow prettifies, decorates, domesticates. In satiric passages (the “mockery king of snow” inRichard II, W. R. Rogers' “White Christmas” and others) snow is an insubstantial pretense or a thin disguise. Whether as melting snowman, symbol of cold chastity, or white sheet that covers up an ugly reality, it is false, impermanent, and derisory. But each of these interrelated modes ‐ the grotesque, thepreécieux, the satiric ‐ remains dependent on one or the other of the two fundamentalvisions of snow that it exaggerates, mocks, distorts, or embroiders upon: snow as a radiant affirmation of beauty, vitality, and renewal, (exemplified by the use of snow‐as‐feathers imagery in Ruth Stone's “Snow”) or snow as negation, deprivation, loss, and extinction, (exemplified by Apollinaire's use of the same imagery

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1981.tb00776.x

出版商:Blackwell Publishing Ltd    

年代:1981

数据来源: WILEY

摘要:

Die scheinbare Kongenialitát zwischen Max Frisch und Søren Kierkegaard, die im Roman ≪Stiller≫ am deutlichsten zurn Ausdruck kommt und die gerade diesem Werk in so hohem Maße eine Aura philosophischer Authentizitát verliehen hat, läßt sich nur durch eine unkritische Übernahme der im Roman prasentierten impliziten Kierkegaard‐Auffassung bestätigen. Ausgehend von den Kategorien ≪Selbst≫ und ≪Wahl≫ in Kierkegaards ≪Krankheit zum wird gezeigt, wie den im ≪Stiller≫ zahlreich vorkommenden Kierke‐gaardschen Begriffen ‐ anscheinend gegen Frischs Intention ‐ ein wesensfremder Inhalt zugeschrieben wird. Die daraus folgenden radikalen Divergenzen zwischen den beiden Werken lassen sich in zwei Problemkomplexe zusammenfassen: zum einen der Status des Gottesverhältnisses, das Verhältnis des Absoluten zum Relativen, und zum anderen der Status der subjektiven Introversion als Mittel beziehungsweise Ziel der Selbstbefreiung. Konklusion der Untersuchung ist, dab eine Kongruenz zwischen dem Roman ≪Stiller≫ und der Gedankenwelt Kierkegaards postulatorisch bleibt und lediglich durch die Verzerrung seiner Philosophie, die dem Gebrauch von Kierkegaard im Roman entspricht, aufrechtzuerhalten ist; eine Folgerung, die die weltanschauliche Kohärenz und Konze

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1981.tb00777.x

出版商:Blackwell Publishing Ltd    

年代:1981

数据来源: WILEY

摘要:

Tournier'sle Roi des aulnesis based on four themes, most clearly apparent in the final scenes: Obsession, Possessiveness, Sacrifice and the Apocalypse. These themes are often manifest through repetition, which makes for readability and, especially in the form of memory, for a sense of coherent character; but they also show much inventiveness and allow many cultural allusions to be integrated into the work. The themes emerge gradually and involve new groupings of textual elements, so as to permit the formation of new interpretations and to afford a sense of sudden enlightenment; such development leads to increasing complexity of texture. There are also characteristic changes in the manifestation of the themes: they progress from imagination or symbol to reality; they increase in seriousness; and they increase and decrease in moral value. The four themes do not appear with equal frequency but are intertwined so as to appear interdependent and create significant ambiguities. This thematic elaboration requires the reader to enter into the perspective of an abnormal character which corresponds, however, to aspects of symbolist literature.

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1981.tb00778.x

出版商:Blackwell Publishing Ltd    

年代:1981

数据来源: WILEY

摘要:

Hans Midbøe:Peer Gynt ‐ teatret og tiden Hans Jacob Nilsen og den “antiromantiske”

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1981.tb00779.x

出版商:Blackwell Publishing Ltd    

年代:1981

数据来源: WILEY