Relevant bibliographies by topics / Blanchot, Maurice Thomas l'obscur

Academic literature on the topic 'Blanchot, Maurice Thomas l'obscur'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Blanchot, Maurice Thomas l'obscur"

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Lawrence, Tim. "Representation, Relation and ‘Empêchement’: Aesthetic Affinities in Beckett's Dialogues with Georges Duthuit." Journal of Beckett Studies 25, no. 2 (September 2016): 169–87. http://dx.doi.org/10.3366/jobs.2016.0169.

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This essay examines Samuel Beckett's correspondence with Georges Duthuit between 1948 and 1950, the period when Duthuit edited Transition with Beckett's close involvement. By contrast to most discussions of Beckett's relationship with Duthuit, the essay focuses on Duthuit's perspective in these exchanges. It argues that Duthuit's assimilation of philosophical perspectives, especially those given in Maurice Merleau-Ponty's Phénomenologie de la perception and Maurice Blanchot's Thomas l'obscur, were influential for Beckett's own thinking about aesthetics. This thinking is present in Three Dialogues with Georges Duthuit (1949), which I argue draws on Duthuit's side of the exchanges more positively than is typically assumed, and I trace how Duthuit's letters to Beckett actively respond to a theory of ‘empêchement’ – a resistance to representation – expressed in Beckett's earlier art criticism. Moreover, the essay argues that Duthuit's monograph Les Fauves, and its translation as The Fauvist Painters supervised by Beckett, bear the traces of Duthuit's exchanges with Beckett, and foreshadow the particularity of Beckett's visual aesthetic in mature prose such as L'Innommable. In this essay, I therefore add to the material challenging the ’siege in the room’ narrative of Beckett as an isolated writer during the post-war period, and also suggest that translation, criticism and correspondence offered a way for both men to work through and engage with specific philosophical ideas subtly present in Beckett's post-war writing.
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McKeane, John. "Maurice Blanchot, Thomas L’Obscur, Chapter I." French Studies Bulletin 41, no. 153 (January 1, 2020): 1–4. http://dx.doi.org/10.1093/frebul/ktz014.

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Dowd, Garin V. "“Glisser dans le vide”: Blanchot, Thomas l'obscur and the space of literature." Angelaki 4, no. 3 (December 1999): 153–69. http://dx.doi.org/10.1080/09697259908572065.

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McKeane, John, and Louise Mai. "Lire Thomas le Solitaire de Maurice Blanchot." Roman 20-50 70, no. 1 (April 12, 2021): 75–90. http://dx.doi.org/10.3917/r2050.070.0075.

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Almeida Filho, Eclair Antonio, and Amanda Mendes Casal. "DO ROMAN AO RÉCIT? METAMORFOSE E ESCRITURA DO DESASTRE EM THOMAS L’OBSCUR, DE MAURICE BLANCHOT." Cadernos do IL, no. 39 (January 10, 2012): 5–19. http://dx.doi.org/10.22456/2236-6385.25134.

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Este ensaio visa a analisar o relato (récit) em Maurice Blanchot a partir das duas versões da sua obra Thomas l’obscur – a primeira publicada em 1941 e a segunda, em 1950 –, em se pensando na metamorfose sofrida pelo romance (roman) de 1941, bem como nos elementos comuns às duas versões. É conhecido, sobretudo, recentemente, após a publicação de Maurice Blanchot – Passion Politique (2011), que o jovem Blanchot, na década de 30, exercia a profissão de jornalista, enquanto dedicava suas noites à escritura ‘literária’ – aqui se incluiria a primeira versão de Thomas l’obscur. Não se pode esquecer que há uma discussão nunca interrompida sobre a conversão de Blanchot entre esta década e a posterior, nos anos 40, de certa postura ‘fascista’ a uma postura ‘comunista’ – em se reconhecendo os riscos desta simplificação. A fim de que se possam abordar algumas das passagens que foram ‘recortadas’ do romance de largo fôlego, é preciso falar com Dionys Mascolo em cuja carta, inclusa na publicação que teve lugar em 2011, se lê que se houve conversão de um Blanchot jornalista-escritor a um Blanchot com uma linguagem própria esta foi da escritura ao pensamento. Assim, este texto se concentrará nos traços de um pensamento que, em 1980, com a publicação de L’Écriture du désastre, alcançará uma separação – e uma proximidade – nunca antes testemunhada em relação a suas obras anteriores bem como à aparição de outros (filósofos, homens de letras) em cada um de seus fragmentos.
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Majorel, Jérémie. "Portraits avec visage absent: Aminadab (1942) de Maurice Blanchot." Alea : Estudos Neolatinos 12, no. 1 (June 2010): 97–106. http://dx.doi.org/10.1590/s1517-106x2010000100007.

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Aminadab, le deuxième roman publié par Blanchot, en 1942, relate l'errance de Thomas dans un hôtel labyrinthique. On y observe un leitmotiv: des descriptions de portraits dont les visages sont systématiquement effacés ou brouillés. Ce dispositif met un place une double loi spatiale et temporelle de neutralisation qui informe le parcours du personnage et le plonge dans une quête interprétative à la fois déceptive et libératrice: il n'y a rien à découvrir, si ce n'est ce rien, par-delà la négativité.
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Mourão, Fernanda. "Esta é minha carta ao mundo." Aletria: Revista de Estudos de Literatura 19, no. 1 (January 31, 2009): 133–49. http://dx.doi.org/10.17851/2317-2096.19.1.133-149.

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Resumo: A partir da primeira carta de Emily Dickinson (1830-1886) a Thomas Higginson, que então seria seu “preceptor” e interlocutor para sempre, este texto propõe uma leitura da obra da escritora norte-americana a partir do biografema da carta e da ideia de sua obra como “carta ao mundo” – conforme um de seus mais famosos poemas –, com todas as implicações trazidas pelo termo, e à luz das teorias de Roland Barthes, Maurice Blanchot e Silvina Rodrigues Lopes, entre outros.Palavras-chave: poesia; escrita; carta.Abstract: Departing from the first letter Emily Dickinson (1830-1886) wrote Thomas Higginson, who would forever be her “preceptor” and interlocutor, this text proposes a reading of the North- american writer considering the notion of biografema and the idea of her work as “letter to the world” – according to one of her most famous poems –, with all the implications brought by the term and under the light of the theories of Roland Barthes, Maurice Blanchot e Silvina Rodrigues Lopes, among others.Keywords: poetry; writing; letter.
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Jarvis, Stephen. "Carolyn Bailey Gill, ed., Maurice Blanchot: The Demand of Writing (London and New York: Routledge, 1996).Thomas Pepper, ed., The Place of Maurice Blanchot: Yale French Studies 93, (New Haven: Yale University Press, 1998)." Oxford Literary Review 22, no. 1 (July 2000): 188–93. http://dx.doi.org/10.3366/olr.2000.015.

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Derrida, Jacques. "Le parjure, peut-être (« brusques sautes de syntaxe »)." Études françaises 38, no. 1-2 (August 18, 2004): 15–57. http://dx.doi.org/10.7202/008390ar.

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Résumé S’inscrivant dans le droit fil de textes tels Donner la mort (1999) et Demeure. Maurice Blanchot (1998) où est interrogé, entre autres questions, le statut du pardon, de la promesse, du mensonge et du témoignage, de leur indécidable « vérité » ou partage en régime de fiction littéraire, cette analyse du récit de l’écrivain français et traducteur Henri Thomas aborde la figure de cas complexe du parjure. Se trouvent en effet transposés dans Le parjure certains éléments de la vie de Paul de Man, l’ami qui lie ici tant Henri Thomas que Hillis Miller (à qui ce texte est dédié) et l’auteur lui-même, qui a consacré à de Man plusieurs textes. La lecture se fait tout particulièrement attentive aux brusques sautes de syntaxe du récit, marqué par la (plus-que) figure de l’anacoluthe. Ces ruptures abruptes, tout comme les glissements interrupteurs des mensonges d’Albertine dans la Recherche, infléchissent le récit dans des zones troubles où l’auteur, au sujet du parjure, convoque les essentielles figures du « peut-être » et du « comme si » qui hantent pour lui la fiction de type littéraire. Car si l’on ne sait plus faire la différence, en l’absence de toute preuve, entre « lying » et « storytelling », entre mentir et raconter des histoires, qu’en est-il de la vérité et de ses effets, mais plus encore du secret de la littérature et de la responsabilité qui revient au témoin, cet analyste à qui est confiée l’étrange événementialité de cette fiction réelle ?
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Holland, M. "The Place of Maurice Blanchot. Edited by Thomas Pepper. (Yale French Studies, 93). New Haven and London, Yale University Press, 1998. 283 pp. Pb $17.00." French Studies 55, no. 3 (July 1, 2001): 424–25. http://dx.doi.org/10.1093/fs/55.3.424.

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Dissertations / Theses on the topic "Blanchot, Maurice Thomas l'obscur"

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Smanioto, Macedo Sheyla Cristina 1990. "Cruel razão poética : um estudo sobre a escrita do neutro em Maurice Blanchot." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270068.

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Orientador: Marcos Antonio Siscar
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-27T13:27:34Z (GMT). No. of bitstreams: 1 SmaniotoMacedo_SheylaCristina_M.pdf: 1236721 bytes, checksum: e115db0fa0dd4d1c7365e06e80540dba (MD5) Previous issue date: 2015
Resumo: A presente dissertação propõe-se a um estudo sobre a escrita do neutro em Maurice Blanchot. Começamos com a proposição do que seria uma possível poética do neutro, na introdução. No capítulo um, abordamos o neutro em sua relação com o dehors, a partir da História da loucura (1961) de Foucault e da leitura desta obra feita por Pélbart (1989). A preocupação é contextualizar o neutro para, no capítulo seguinte, trazê-lo em relação com as exigências da "cruel razão poética", abordada por Blanchot (1969) a partir da leitura de Artaud, aproximando as poéticas desses dois autores. Em seguida, no capítulo três, com o apoio de Dubreuil (2003), partiremos da análise de dois textos ¿ Thomas L'Obscur de Blanchot e "Carta à vidente" de Artaud ¿ a propósito da ideia de possessão, tal como esta encontra espaço em suas concepções sobre a criação poética. O objetivo é, depois de aproximar Artaud e Blanchot, situar onde a escrita deles é diferente, muito embora partam de questões semelhantes. Isto feito, tornamo-nos capazes de afirmar, com o auxílio do mito das sereias, a escrita do neutro como a articulação de uma "metalinguagem dramática" que permite a Blanchot, ao aproveitar-se das estruturas do pensamento mítico, realizar seu pensamento em um terreno provisório
Abstract: This dissertation proposes a study on the writing of the neutral in Maurice Blanchot. We start with the proposition of a possible poetic of the neutral. In chapter one, we approach the neutral by its relationship with the dehors from Madness and Civilization (Foucault, 1961) and the reading of this work done by Pelbart (1989). The concern is to contextualize the neutral and bring it in relation to the demands of the "cruel poetic reason", addressed by Blanchot (1969) from reading Artaud. Then, in chapter three, with the support of Dubreuil (2003), we will base the analysis of two texts - Thomas L'Obscur (Blanchot, 1950) and "Letter to the clairvoyant" (Artaud, 1929) - in connection with the idea of possession, as this finds room in their conceptions of poetic creation. The objective is, after approaching Artaud and Blanchot, place them where their writing is different, even though departing from similar issues. This done, we become able to claim, with the aid of the myth of mermaids, the writing of the neutral as the articulation of a "dramatic meta-language" that allows Blanchot to perform his own thinking on a temporary ground by availing the mythical thought structures
Mestrado
Teoria e Critica Literaria
Mestra em Teoria e História Literária
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Nguyen, Thi Quyen. "Le désoeuvrement dans la trilogie romanesque de Beckett (Molloy, Malone meurt, L'innommable) et les romans de Blanchot (Thomas l'obscur, L'arrêt de mort, Le Très-Haut, Au moment voulu, L'attente l'oubli)." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC010.

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Le terme désœuvrement apparaît comme une des grandes notions qui peuplent la critique littéraire du 20ème siècle. Il marque la mise en mouvement de l'absence de l’œuvre dans laquelle l'écriture tend vers l'espace où rien ne peut être fait. La Trilogie romanesque de Beckett et les romans de Blanchot se croisent dans cet espace du désœuvrement. Les deux écrivains tentent de faire opérer la fin de la littérature en cherchant une nouvelle forme qui réalise le chaos. Dans leur œuvre, le temps, l'espace, la narration et le langage sont mis en redéfinition en abandonnant tous leurs caractères traditionnels. L’œuvre s'approche donc du fragmentaire
The term worklessness became one of the main concepts in the literary criticism of the 20th century. It marked the absence of the work on the way to a literary space where nothing can be done. Both Beckett and Blanchot tried to put an end to literature by creating a new form that could express the chaos. In theirs novels, time, space, narration and language no longer remain their traditional characteristics. The works of the two authors are close to what we call fragmented novel
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Călin, Anca. "La question de la nomination dans l’œuvre de Maurice Blanchot." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100113/document.

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Qu’est-ce que lire ? Qu’est-ce qu’écrire ? Ou plus généralement, qu’est-ce que la littérature et comment se ‘fabrique’-t-elle ? Ce sont les questions qui obsèdent Maurice Blanchot et auxquelles il tente de répondre. Ce questionnement incessant le conduit à construire un espace littéraire pour interroger la question de la nomination, concept-clé de son œuvre.Notre thèse se propose de faire la généalogie de cette question du processus de nomination dans l’œuvre de Maurice Blanchot et de réfléchir sur l’espace littéraire qu’elle met au jour. Nous insisterons tout particulièrement sur le rapport lecteur-écrivain à travers la différence entre langage ordinaire et langage littéraire.Nous comprenons la lecture et l’écriture, non pas comme des actes mécaniques de rédaction et de déchiffrage de mots, mais comme deux processus intellectuels qui rendent possible ce que nous appellerons dans notre travail l’impossible nomination chez Blanchot. En fait, la lecture et l’écriture comme actes littéraires ne servent pas à comprendre, exprimer et influencer le monde, le but déclaré du langage ordinaire ; elles ont plutôt pour mission de réfléchir sur la prose du monde, sorte de but dissimulé du langage littéraire. Blanchot construit ainsi tout son système conceptuel à partir de l’opposition entre le langage ordinaire (la langue comme outil) et le langage littéraire (le corps de la langue et sa fabrication comme acte de création). Et c’est à partir de ce point central que nous articulons notre projet général : comment la matière brute de la langue conduit à fabriquer la littérature, ce qui revient à interroger le lire et l’écrire en littérature finalement ?
What is reading? What is writing? Or more generally, what is literature and how is it ‘manufactured’? These are Maurice Blanchot’s obsessive questions to which he tries to answer. This continuous questioning pushes him to build up a literary space in order to make queries with regard to the issue of nomination, a key concept of his works.Our thesis aims at building the genealogy of this topic of the nomination process in Maurice Blanchot’s works and at thinking about the literary space which it brings to light. We will focus specially on the relationship reader-writer through the difference between ordinary language and literary language.We do not see writing and reading as two mechanical activities of writing down words and decoding them, but as two intellectual processes which make possible what we will call in our thesis the impossible nomination from Blanchot’s works. Indeed, reading and writing as literary acts are not meant to understand, express and affect the world, which is the declared purpose of the ordinary language; their mission is rather to reflect on the prose of the world, a kind of hidden goal of the literary language. Blanchot sets up a whole system of concepts based on the opposition between ordinary language (the language as a tool) and literary language (the body of the language and its manufacturing as an act of creation). It is precisely based on this landmark that we structure our general project: how does the raw material of the language lead to the creation of literature, which in the end comes to questioning the reading and the writing in literature?
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Schott, Jacob Ryan. "The Kafka Case: Constructing Kafka, Deconstructing the Self in French Letters." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1282056583.

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Books on the topic "Blanchot, Maurice Thomas l'obscur"

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Călin, Anca, and Alain Milon, eds. Défi de lecture : Thomas l’obscur de Maurice Blanchot. Presses universitaires de Paris Nanterre, 2017. http://dx.doi.org/10.4000/books.pupo.21205.

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Book chapters on the topic "Blanchot, Maurice Thomas l'obscur"

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Theisen, Josef. "Blanchot, Maurice: Thomas l'obscur." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2769-1.

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Bident, Christophe. "A True Writer Has Appeared." In Maurice Blanchot, 160–62. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823281763.003.0023.

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Bident, Christophe. "Night Freely Recircled, Which Plays Us." In Maurice Blanchot, 111–18. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823281763.003.0018.

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Looks at Blanchot’s first novel Thomas the Obscure, including its long genesis throughout the 1930s. The influence of various writers on the novel is evaluated, and the characteristics and importance of fiction for Blanchot are discussed.
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Bident, Christophe. "The Turn of the Screw." In Maurice Blanchot, 232–34. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823281763.003.0035.

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Concentrates on the second, shorter version of Thomas the Obscure, which was written several years before its eventual publication in 1950. The differences between the two versions are addressed, as is Blanchot’s conceptualization of this rewriting.
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Bident, Christophe. "Murderous Omens of Times to Come." In Maurice Blanchot, 101–10. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823281763.003.0017.

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Looks at the two early short narratives “The Idyll” and “The Last Word,” both on their own terms, and in relation Blanchot’s wider creative writing at the time (Thomas the Obscure). Picks up on the possible traces of a political experience and language in these works.
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Philippe, Antoine. "« Thomas le fou, Thomas le sphinx »." In Défi de lecture : Thomas l’obscur de Maurice Blanchot, 139–57. Presses universitaires de Paris Nanterre, 2017. http://dx.doi.org/10.4000/books.pupo.21310.

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Andrade Pimentel, Davi. "L’autre nuit appartient à Thomas." In Défi de lecture : Thomas l’obscur de Maurice Blanchot, 121–37. Presses universitaires de Paris Nanterre, 2017. http://dx.doi.org/10.4000/books.pupo.21300.

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Hoppenot, Éric. "Chroniques des premières réceptions de Thomas l’Obscur." In Défi de lecture : Thomas l’obscur de Maurice Blanchot, 21–37. Presses universitaires de Paris Nanterre, 2017. http://dx.doi.org/10.4000/books.pupo.21245.

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Courtieu, Marc. "« Thomas l’Obscur » ou les frontières impossibles du récit." In Défi de lecture : Thomas l’obscur de Maurice Blanchot, 41–52. Presses universitaires de Paris Nanterre, 2017. http://dx.doi.org/10.4000/books.pupo.21255.

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Benmansour, Maryan. "L’obscur, reflet du récit dans l’œil de Thomas." In Défi de lecture : Thomas l’obscur de Maurice Blanchot, 103–20. Presses universitaires de Paris Nanterre, 2017. http://dx.doi.org/10.4000/books.pupo.21290.

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